The urban soundscape

Fred Anderson
Timeless (Delmark)
One of the best things about jazz, unlike pop, is the opportunity to hear an artist age gracefully. This longtime trio of Anderson, bassist Harrison Bankhead and drummer Hamid Drake has developed an understanding that’s warmer and deeper than ever before. And Anderson, now 76, doesn’t flag once in this intense meditation session.—Matthew Lurie

Cheer-Accident
What Sequel? (Pravda)
Thanks to a career full of left turns, Cheer-Accident ends up on the right side of things. This, its eighth official album, treats pop songs like Silly Putty, stretching and pulling them until it’s satisfied with the funny shape. But make no mistake: Thymme Jones and crew are not pranksters. They understand even the most famous Burt Bacharach songs were borne out of some weird-ass shit.—Matthew Lurie

Deep Blue Organ Trio
Goin’ to Town (Delmark)
Chris Foreman spreads the organ-jazz gospel from the Hammond B3 pulpit, while Bobby Broom (guitar) and Greg Rockingham (drums) wail on in the amen corner. Recorded on two consecutive spring nights deep in the heart of Uptown, it showcases the three-man band and the 200-person Green Mill audience feeding off of each other.—James Porter

The Diminisher
Imaginary Volcano (Unsound)
When he wasn’t recording at the South Side’s Shape Shoppe, local multi-instrumentalist Dave McDonnell (Michael Columbia, Herculaneum) was spending after hours at his parents’ church capturing the sounds of its beautiful harpsichord. It’s an incredible flourish on this Roxy/Eno–tinged, groovy solo effort three years in the making.—Antonia Simigis

Johnny Drummer
Rockin’ in the Juke Joint (Earwig)
Drummer is probably the only person in town who could play a keytar and not sound like a member of a bad ’80s tribute band. This is powerhouse soul-blues that is every bit as fine as his weekly Saturday-night gig at Lee’s Unleaded Blues.—James Porter

Entrance
Prayer of Death (Tee Pee)
Okay, so he skipped town in 2003, but since this was recorded at Jay Bennett’s now-defunct Pieholden Suite Sound in Logan Square, co-produced by gifted local David Vandervelde and is just so extraordinary, we’re giving it a pass. Neofolkie Guy Blakeslee transforms into a psychedelic shaman on this concept album, touching on everything from old Delta blues to electrified Moroccan riffs as he meditates on the meaning of mortality.—Antonia Simigis

Lupe Fiasco
Food & Liquor (Atlantic)
As good as the prematurely leaked version of Food & Liquor is, you’ve got to be one spoiled hip-hop fan not to appreciate the official release. It’s not just Fiasco’s thoughtful insights on Islam, skateboarding and single parenting, but his style—heavy on the breath, urgent—has the fire of a young Jay-Z. This Chi-town classic deserves every one of the three Grammy noms it just received.—Matthew Lurie

Bobby “Slim” James
Beyond the Blues (Annie G)
Like Drummer, James is another South Side–based bluesman who relies heavily on synths, but even a canned horn section can’t hide all this deep soul goodness. If you find yourself at one of his gigs and he’s selling this album from the bandstand, you must pick it up.—James Porter

Loose Fur
Born Again in the U.S.A. (Drag City)
Glenn Kotche
Mobile (Nonesuch)
It was the year of the Wilco side projects, and a good one at that. After the disconnect on their 2003 debut, Jeff Tweedy, Jim O’Rourke and Glenn Kotche finally gel as Loose Fur this time around, with songs that veer from quiet, subtle finger picking to radio-ready ’70s rock. Kotche takes a solo jaunt as well with Mobile: In essence it’s an album for drum geeks, but the percussionist’s explorations of the African thumb piano, gamelan rhythms and jazz are fine stuff nonetheless.—Antonia Simigis

Pit er Pat
Pyramids (Thrill Jockey)
This narrowly noses past Califone’s Roots and Crowns as our favorite local rock release from Thrill Jockey this year. The trio expands its minimalist, atmospheric sound, adding electronic flourishes surely indebted to producer John McEntire (Tortoise). The cawing-crow imitations on “Rain Clouds” are also the best (er, only?) bird calls we’ve heard on an album, ever.—Antonia Simigis

Rhymefest
Blue Collar (J Records)
Both Visual and Haiku released notable records this year but, partially thanks to some hefty budgets, the best local hip-hop came from the major labels. South Side native Rhymefest is easily the least serious MC to come out of Chicago in some time, hence his affiliation with Kanye. But this debut, despite a few underwhelming tracks, is that rare hip-hop album with ten-plus singleworthy songs. The hands of NO I.D. and Mark Ronson, both jazz and R&B aficionados, leave strong imprints here.—Matthew Lurie