Nate Chinen

A bar fight breaks out during a pivotal scene in Django, the musically crisp yet mournful new wartime drama by Étienne Comar. As the fracas unfolds, the band keeps playing, with a blithe bemusement that seems to say: This happens all the time. But these are far from normal times.

A continuity and a break: That's the history of The Bad Plus in a nutshell. An acoustic piano trio with the combustion properties of a post-punk band, it emerged in the early 2000s to an uproar — its surging attack and shrewd repertoire were framed as a radical split from the jazz tradition. Gradually a more perceptive view emerged, one that acknowledged where the band was really coming from.

A little over 75 years ago, Rita Hayworth and Fred Astaire introduced "I'm Old Fashioned," a graceful, guileless ballad that dismisses the latest trends in favor of timeless romantic verities: the glow of moonlight, the holding of hands, "the starry song that April sings."

Wayne Shorter didn't release any new music in 2017. But that's not to say the eminent saxophonist, composer and NEA Jazz Master had anything less than a banner year. In the spring he returned to Newark, for the first time in ages, as the honored guest of a festival at the New Jersey Performing Arts Center.

Every year around this time, the jazz community takes the measure of its highlights and bright moments — along with a tally of its losses. And while it's true that important jazz artists leave us every year, 2017 was tougher than most.

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