With the beginning of a new year, there comes a period of review to gauge successes and failures of the previous year. Publications release their annual “Best of” lists, usually in the sincere desire to help the public make informed choices on books, movies, music, etc., that stood out during the previous 12 months. These lists, more times than not, provide validation to what the public already knows, especially when it comes to the cinema and in certain areas of music.

The varied lists from jazz writers and publications that focus on the music, however, tend to include more individual tastes. What follows is not so much a definitive list, but rather an overview of some recordings that caught my ear in the last year. If you’re interested in my actual list, you can view it at the Jazz Journalists Association Web site, www.jazzhouse.org. At the main page, just look for the link to the top recordings list, click on my name, and the link will bring you to my list.

2006 was not what I would call a banner year for recordings. In my previous column, I mentioned the lack of locally produced jazz recordings. It’s my hope that with the large array of talent in the area, more local artists will find a way to document their music and get it out for all to enjoy. As far as nationally released recordings, there were plenty of very good to excellent CDs released, but nothing that made me feel there was anything of historical value. However, among the many recordings that I heard, several stand out as being exceptional examples of the creative spirit of jazz.

Some of those titles include “Husky” from Skerik’s Syncopated Taint Septet and “Saudades” from the collective Trio Beyond, comprised of John Scofield, Jack DeJohnette and Larry Goldings. I rediscovered my love for the piano trio format through Renee Rosnes’s “A Time for Love,” Mulgrew Miller’s “Live at the Kennedy Center” and David Hazeltine’s “Perambulation.” Composer/pianist Andrew Hill’s “Time Lines” not only marked a return to the label that launched his career, Blue Note Records, but stands as a document that shows what a true jazz treasure Hill is. Chris Potter’s “Underground,” Christian McBride’s “Live at Tonic” and Ignacio Berroa’s “Codes” all serve as examples of where the music can go when it’s free of restrictive boundaries. And Jerry Bergonzi’s “Tenor of the Time” and Victor Goines “New Adventures” serve as reminders of state-of-the-art acoustic jazz.

In the reissue department, Mosaic Records of Stamford, Conn., launched a new series called Mosaic Singles. These are limited edition CDs drawn from the vaults of Columbia/Sony, RCA, etc. Notable in the first batch were Duke Ellington’s “Spacemen in Orbit,” Charles Lloyds’s “Of Course, Of Course” and Buddy Rich’s “Live in London.” Blue Note released Jackie McLean’s “Demon’s Dance” on it’s Rudy Van Gelder Series, and McLean’s “It’s Time” on its Connoisseur Series, both fitting tributes to the saxophonist who passed away in March. Three personal favorite reissues were “Self Portrait,” a long awaited reissue of saxophonist Pete Christlieb’s first recording for his own label, Bosco; “Oasis,” a superb recording from singer-songwriter-guitarist Jim Messina; and “Santana III (Legacy Edition)” which expands the original recording with extra studio cuts and a complete live session from the Fillmore West.

Three recordings worth mentioning that I heard after submitting my list were “Marsalis Music Honors Michael Carvin,” a terrific new release by one of the finest drummers in the business. Speaking of drummers, another excellent player, Billy Hart, released his latest CD, simply titled “Quartet,” featuring saxophonist Mark Turner, who also turns up on Omer Avital’s “The Ancient Art of Giving,” a superb live set. I’m hoping a label sees fit to sign Turner, as he is a creative voice who should be heard more often.

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The annual Harry Jones Memorial Scholarship Concert takes place later this month at the University of New Hampshire, featuring the Seacoast Big Band directed by Dave Seiler. Guest performer with the band will be composer-arranger-saxophonist Mike Tomaro. The show takes place at UNH on Tuesday, Jan. 16, in the Johnson Theatre. Tickets—$8 general admission, $6 students and seniors—are available through the MUB Ticket Office at 603-862-2290. For more information, contact Seiler at the UNH Music Department at 603-862-2404.

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Finally, the music world was struck by the death of legendary soul singer James Brown on Christmas day, Dec. 25. Brown succumbed to complications from pneumonia only hours after telling friends and family he was looking forward to a New Year’s Eve performance. “Papa’s Got A Brand New Bag,” “Sex Machine” and “I Feel Good” were some of the many timeless hits this provocative singer made famous. More importantly was his almost single-handed development of the idiom known as funk, which spawned a number of acts, including Parliament/Funkadelic, The Meters, Cold Blood and Tower of Power. Brown was also proud of his heritage, expressing that pride in songs ranging from “Say It Loud, I’m Black and I’m Proud” to his mid-1980s patriotic hit “Livin’ In America.” He was a one-of-a-kind musician who made his mark on the music world and who left the entire world better for having produced so much happiness with his talents.