Jake Shimabujuro

One of the most striking and strangely moving moments onJake Xerxes Fussell’s gorgeous Good and Green Again—an album, his fourth and most recent, replete with such dazzling moments—arrives at its very end, with the brief words to the final song “Washing-ton.” “General Washington/Noblest of men/His house, his horse, his cherry tree, and him,” Fussell sings, after a hushed introductory passage in which his trademark percussively fingerpicked Telecaster converses lacily with James Elkington’s parlor piano. That’s the entire lyrical content of the song, which proceeds to float away on orchestral clouds of French horn, trumpet, and strings, until it simply stops, suddenly evaporating, vanishing with no fade or trace, no resolution to its sorrowful minor-key chord progression, just silence and stillness and stark presidential absence. It feels like the end of a film, or the cold departure of a ghost, and is unlike anything else Jake has recorded.

The very first release by the Concord label was a quartet set featuring guitarists Herb Ellis and Joe Pass, bassist Ray Brown, and drummer Jake Hanna. Ellis and Pass (the latter was just beginning to be discovered) always made for a perfectly complementary team, constantly challenging each other. The boppish music (which mixes together standards with "originals" based on the blues and a standard) is quite enjoyable with the more memorable tunes including "Look for the Silver Lining," "Honeysuckle Rose," "Georgia," "Good News Blues," and "Bad News Blues." This was a strong start for what would become the definitive mainstream jazz label.

Dancefloor wizardry is so expected of Jake Shears that it made the country, classic rock, and New Orleans homages of his self-titled debut album that much more surprising – and effective. He returns to dance music old and new on his second album, and two decades after he and the rest of Scissor Sisters turned "Comfortably Numb" into a mirrorball spectacle, Shears still finds ways to make club-oriented music that's equally catchy and innovative. He even splits Last Man Dancing's halves along those lines, beginning the album with self-contained bursts of instant-gratification disco-pop that are flashy and heartfelt at the same time.