The résumé of trumpeter Steven Bernstein reads like an all-star list of collaborations in not only the downtown NYC jazz scene, but popular music as well: Aretha Franklin.  Marianne Faithful.  Rufus Wainwright.  Yet Bernstein is perhaps best known for his work in John Lurie’s Lounge Lizards as well as his own Sex Mob, whose Sexotica (2006) garnered a Grammy nomination a couple of years ago.  His most recent release is from another project of his called the Millennial Territory Orchestra, which Bernstein regards as “the fullest expression of my musical personality.”  Sounding like a cracked Dixieland relic from the 1930s, the band tackles Lennon and McCartney’s “All You Need Is Love” with a demented fervor, Fats Waller’s “Viper Song” is turned into a burlesque strip tease with a banjo (!), and the leader himself best describes the title track as such: “Don Redman meets Funkadelic at Count Basie’s summer home by the lake.”  We Are MTO (2008) has a spontaneous, live-feel atmosphere that features plenty of Charlie Burnham’s violin smeared over the proceedings, Doug Wieselman’s swinging clarinet, and of course, Bernstein’s often hilariously over-the-top slide trumpet.  How could you find something to fault on a record that’s this much fun?

“We Are MTO” – Steven Bernstein’s Millennial Territory Orchestra 4:03 (We Are MTO, MOWO 2008)

With each successive track during my first listen of Binario’s self-titled debut I waited impatiently for the punchline – there was no way that something this good had just arrived in my mailbox without my prior knowledge or anticipation.  Alas, by the last track the dreaded deal-breaker never came, which was when I realized that I was in the presence of year-end-list Greatness.  Whether Binario (2008) belongs in the company of “jazz” releases is certainly debatable, but I’d rather save that conversation for another time (read: never) and divulge some history first.  Ipanema Beach’s Binario was formed in 2002 and has expanded into a septet over the years, incorporating every style of music under the tropical sun into their unique sound, which is far too expansive and complex for mere descriptors here.  I’d like to call them Brazil’s version of one of the more underrated and bizarre bands of the ‘90s, Belgium’s dEUS, but perhaps they’re too obscure to stateside ears for a proper comparison.  It’s better to illustrate the experimental brilliance of Binario on a song-by-song basis: “Funeral” opens the record in a thick, psychedelic haze of blunt smoke, a stew of distorted guitars, thunderous drums, and warped cosmic samples.  “Balinha” is a New Year’s festival gone mad, veering between surf-inflected cocktail jazz and loud, drunken chanting.  The propulsive, conga-accented groove of “Jazzhole” is built upon banks of badass 8-bit Casios.  “Experimental (Catnip)” is a sunset stroll on a white-sand beach, but with a suspenseful, nervous presence lurking over the dunes.  I could go on and on here, but I’ve established my point.  Binario’s subtleties are immeasurable, its rewards infinite.  For the love of all that is golden and pure, get your hands on a copy of this record – no other non-metal release this year has received such an unwavering seal of approval from yours truly.

“Experimental (Catnip)” – Binario 4:52 (Binario, Far Out 2008)

Cuban-born Francisco Mela recently released his second platter as a leader, a live date titled Cirio (2008), recorded at New York’s Blue Note in September of last year.  Mela’s drumming has been in high demand as of late, as a member of John Scofield and Kenny Barron’s trios as well as manning the kit for Joanne Brackeen and Joe Lovano.  Cirio is fueled by the leader’s typically energetic playing and features pianist Jason Moran, Mark Turner on tenor, Larry Grenadier on bass, and man-of-the-hour Lionel Loueke on guitar and occasional vocals.  It’s an attractive if slightly overlong set, Loueke in particular sounding inspired by the setting.  And Grenadier is always a delight to follow, but his anchoring of the material here is astonishing, the central axis from which each soloist gravitates.  Cirio doesn’t generate the same excitement as debut Melao (2006) from two years ago, but it’s a nice way to bide the time until we see another studio release from Mela.

“Afro Son” – Francisco Mela 6:42 (Cirio, Half Note 2008)

Does the world need yet another presentation of Jobim tunes, much less one titled Novas Bossas (2008)?  When the presenters are Milton Nascimento and The Jobim Trio, a strong case could be made in the affirmative.  Nascimento and Trio drummer Paulo Braga have been playing together since the ‘60s, and with the father-son addition of Paulo and Daniel Jobim, the four set upon recording Novas Bossas following last year’s 80-year celebration of the iconic composer.  On Novas Bossas the group eschews the obvious (“Desafinado,” “The Girl from Ipanema”) for some of the deeper cuts from Jobim’s oeuvre, peppered with a handful of non-Jobim, but equally compelling inclusions. “Chega de Saudade,” the most familiar item, is given a refreshing update if a tad professional, while the drifting Daniel Jobim tune “Dias Azuis,” with its overlapping vocals, is absolutely lovely.  “Inútil Paisagem” is another standout, Daniel’s gentle piano softly kissing the track like gentle waves on a beach.  Nothing earth-shattering here, of course, but I’ve given the record numerous Quiet Weekend Morning tests and it’s passed with flying colors every time.

“Dias Azuis” – Milton Nascimento & Jobim Trio 4:09 (Novas Bossas, Blue Note 2008)

The legendary McCoy Tyner is hardly a stranger to colorful instrumental settings; his partnership with Orrin Keepnews during Tyner’s ‘70s prime found the pianist in everything from wild percussion jams to intimate trio moments to full orchestral panoramas.  Tyner has worked with guitarists before, of course – Grant Green chiefly among them – and his latest, simply titled Guitars (2008), features him in a trio supplemented by five separate contemporary axe-wielders.  With a rhythmic backbone as impeccable as Ron Carter and Jack DeJohnette I wanted to like this, but the results are too spotty, and the interactions oftentimes mildly cordial, for the disc to be enjoyed as a whole.  The four selections with Marc Ribot that open the record are surprisingly frustrating, with the guitarist never really finding his footing among Tyner’s dense voicings; the run-through of “Passion Dance” is a suffocating mess.  John Scofield and Derek Trucks seem to have a better grasp on things, even if the material isn’t particularly enlightening (really, “Greensleeves”?).  Bela Fleck’s banjo is a welcome diversion on his three cuts and Tyner takes full advantage of the unique opportunity, but it’s the closing dialogues with Bill Frisell that offer the most rewards.  Frisell’s homages to African guitarist Boubacar Traore on “Boubacar” and “Baba Drame” make up for the previous lulls that threatened to submerge the album, and ultimately leave the listener thirsty for a full-length Tyner/Frisell session.  Guitars (and its accompanying making-of DVD) is a worthwhile curiosity, but hardly essential.

“Contemplation” – McCoy Tyner ft. Bill Frisell 7:55 (Guitars, Half Note 2008)