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This CD collation of the earliest sides under his leadership, made for tiny labels such as Guild and Musicraft, will have your jaw sagging in amazement as he consistently delivers ideas that top even those of Parker. Just to keep it interesting, Gillespie also wrote some of the most enduring bop anthems, and many of them get their first outings here.
These sessions, like the Parker Savoys, are the holy tablets of bop. Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally.
Ra was on the vinyl map and never looked back. Next stop, Jupiter. There is a curious reluctance for some to acknowledge that Rollins came back from his voluntary exile a more complete and fascinatingly complex musician.
The Bridge is enduring testimony to that fact: he has shed all stylistic baggage, leads from the front, plays with a new poise and freshness and with a unique identity that has stayed intact up to the present day. Although lates Rollins may be the stuff to get the critics panting, this was the template for all future Rollins creative ventures, whether they be avant-garde or retro or just plain Sonny.
Unbeatable music. This album emphasises the latter talents: he uses his highly personal sense of composition and instrumental colour much as Jelly Roll Morton did back in the late s, bringing out sensational new sonorities and ideas between the select group of musicians he is using here and goading them to some of their most eloquent playing, individually and collectively. When those musicians include the front line we have here, that makes for some very special music indeed.
Depending on which CD version you come across this can be a straight version of the vinyl original or contain two extra alternative takes. One of the most important jazz albums ever. Using just six players, Russell achieves wonderful orchestral textures within these 12 compositions, thanks partly to guitarist Galbraith, and introduces the world to modal jazz and Bill Evans en route. Strange new harmonies, polyrhythms, pantonality and extended composition — with Russell and Gil Evans, jazz just became a complete new zone of potentialities.
More influential on the jazz community directly, on Miles, Coltrane and Oliver Nelson, than through its sales, this is the one that so many musicians still check out. A masterpiece of small group playing and a masterclass on the role of composition in the music. Getz ts , Roy Haynes d , chamber string group and Hershey Kay cond. Nothing in the history of jazz soloist-plus-strings recordings could prepare the uninitiated listener for what this album delivers.
Focus stands in glorious isolation even within the jazz tradition but is a certifiable classic within the genre that others still cite in awe. By the time he made this date, Corea had worked his way through a heavy avant-garde phase and out onto the sunlit plains of his own latin-based musical imagination.
Intoxicating music played by masters makes this an era-defining milestone. Heard and Jackie Mills d. However, her discography on vinyl is convoluted: her s 78rpm output, where she was normally a featured singer rather than the star, had to wait until the s to appear in any ordered way and the s to appear substantially on CD. Ditto her s Deccas.
By the time she settled with Verve in her voice had darkened and lost its suppleness. This bold attempt to expand the boundaries of jazz in a dramatic jazz, blues, rock, Hendrix, MC5 amalgam left temperate listeners shell shocked and critics speechless. This is jazz, rhythm and electricity writ large in a tumbling roller coaster of ideas. No wonder the album was called Emergency, with every member of the band having so much to say but so little time to say it.
Adderley was about to push into the soul-jazz era when he made this one-off for Blue Note. Miles got the altoist to shine through ballads and burnished blowing throughout, complementing in fine style while the rest of the crew kept a discreet distance. Review Cannonball Adderley — Somethin' Else. Even techno fans — no sampling as such — will find early creative use of editing, recycling and overdubbing. Even more creative is the work of soloists such as Jackson, Byard and the amazing Mariano later of ECM and all points east , and the unaccompanied flamenco guitar part apparently written note-for-note by Mingus himself.
MusicBuy album from Presto Music. Norman Granz had long cherished the ambition to have Ella recording for his label but had to wait until to make the signing. His first project for her was to record as many Cole Porter songs as they could lay their hands on in large ensemble style and release them initially as volumes one and two on an unsuspecting but quickly enraptured public.
The idea caught on and Ella kept doing composer songbooks well into the s. Feature Ella Fitzgerald: essential recordings. Ellington often acknowledged that the Newport Jazz Festival offered him a virtual rebirth in terms of his in-person and recording career but there is little doubt as to why. The fact that 60 per cent of the original including just about all of The Festival Suite was recorded in the studio in the following days due to onstage microphone problems was only confirmed decades later.
The original vinyl had just three tracks: this was also the original CD configuration. A later two-CD version combines much improved sound with the complete festival appearance, plus studio extras. The Herman bands — they came to be known as the First and Second Herds — were s big band punk, high on their own adrenalin, testing all the boundaries and playing stampeding music that remains some of the most exciting of the last fifty years, whatever the genre: these guys took the sophistication of Ellington, grafted it on to the bone-chilling excitement of the Gillespie big band soloists and anchored it with the insanely swinging rhythm section of bassist Chubby Jackson and drummer Dave Tough.
This set, first pulled together on vinyl in the s and re-jigged many times on LP and CD since, preserves the best of a truly great big band and its leader. Intensity, meaning and space are essential to understanding what is probably the most misunderstood approach to jazz improvisation. By then the first album had delivered a blues-plus-bebop blueprint for the jazz organ trio that Smith would subsequently develop, refine and occasionally revise, but that stayed remarkably consistent in content and quality over the next decade.
A classic jazz album produced at a time when such albums seemed to be coming out every other day. Essentially the Miles Davis Quintet of the day with Hubbard pinch hitting for Davis and playing as well as he would at any point of career it contained two Hancock originals that would assume quickly the status of jazz standards.
Blakey was in on the ground floor when it came to the evolution of hard bop into soul jazz, having co-led the first Jazz Messengers with Horace Silver back in But the real jewels on this album are the eight solo selections recorded in February The level of invention Powell achieves puts this recital on equal par with anything in the recorded annals of jazz piano and makes it basic required jazz listening.
They also had a secret weapon in that all four musicians were steeped in the blues and could wail whenever they needed to, thus obviating any tendency to effete noodling when things got a little formal. Fontessa was their first for Atlantic with the fully integrated line-up including Connie Kay: it delivered a perfect blueprint for the many MJQ advances of the next decade. Wes Montgomery simply played differently from all the others. He picked the strings with his thumb instead of a plectrum, creating a fresh, warm sound — sensitive on ballads but incisive on fast tempos.
His solos would move through three stages, beginning with single-line improvisation, then shifting up a gear with passages in unison octaves, before building to a climax with lines stated in block chords. Sinatra the jazz singer? There are vast swathes of Sinatra recordings that could never be remotely described as jazz, but the man himself credits Tommy Dorsey and Billie Holiday as his musical mentors and, when he put his mind to it, he could phrase and swing with the best.
Davies, whose expertise in this area is legendary. Except he did it first. However, things went supernova-ish when this incredible unit made and released this jazz best-seller in Nobody remained untouched by his light-but-tight approach, his winningly imaginative arrangements and his incredible attention to dynamics. This one turned everyone around.
Ornette set the musicians up in two parallel quartets, arranged some loose themes and collective playing to book end the entire performance as well as section off each solo, then let the musicians loose for a collective bout of improvisation that lasts well over half an hour reinventing the possibilities of jazz as it does so. The overall marvel of this record is that, while it proved to be so pregnant with ideas for those who followed in the next decades, the music grips the listener as excitingly as ever today.
Brubeck rarely gets his due. A shame, because his good qualities are pretty special. For starters, he knew exactly the way to get the best from Paul Desmond, and for that we should all be down on our knees in thanks. Put that all together and the unusual time signatures that mark this album out tend to pale in significance while the music remains convincing.
It may have been jazz-rock after Bitches Brew, but after Head Hunters jazz-funk was the flavour de jour. The release represented a u-turn of spectacular proportions from the more esoteric direction mapped out on Crossings and Sextant to an album aimed squarely at the dance floor which is where it scored. Review Herbie Hancock — Head Hunters. Ayler made a couple of revolutionary records in Europe two years prior to this but the first ESP-Disk was the one that made the breakthrough in terms of reaching out and changing absolutely everything.
It was only later that his musical forms were grasped and understood. On release, the record changed every conception of what constituted cutting-edge jazz overnight and unleashed generations of imitators. But Albert did it first, and did it best. It lit up the night sky for almost two years, everything was played at mph with the Marshall stacks turned up to eleven. It left audiences in awe, then suddenly was gone.
McLaughlin redefined the role of guitar in jazz, Cobham the drums and the band set new standards in ensemble cohesion. They did it without sounding glib, a trick their legion of followers never fathomed. They also sold albums in pop numbers and played arena rock stadiums. Feature Ten of the best Louis Armstrong albums.
Funnily enough, although Out To Lunch has the iconic cover and evolutionary reputation, the real breakthrough Dolphy disc, Conversations, was made the previous summer, , for the tiny FM label. Be that as it may, Out To Lunch represents another side of the Dolphy genius, showing him as a musician-leader intent on involving his entire group in the improvisatory process at every level and at all times.
What would he have done next? The great man himself knew that this album was a culmination rather than a new beginning, but that probably accounts for its consummate artistry as much as any other reason: Coltrane was the most thorough of players. Some CD versions have as many as eight bonus tracks.
Feature John Coltrane — Giant Steps. Jarrett burst onto the international jazz scene as part of the ground-breaking Charles Lloyd Quartet of the latter s, moved on to running his own trio, briefly joined in with the Miles Davis electronic voodoo soups of the early s, then retreated to acoustic music and a re-examination of what he was attempting to achieve in his music. This led to something of a temporary eclipse in his profile in the first half of the s, although his creativity continued to diversify and deepen.
This remains the case with Jarrett and with the record, which is not only a jazz turning-point in its own right but one of the biggest-selling discs in the genre. From whatever perspective you choose to view the s — from the Cuba Missile Crisis to the rise of the counter culture movement, the student riots in Paris in May to the growing anti-Vietnam protests across the USA, the advent of the pill to the rise of rock music — established values were being openly questioned, upturned and in general shaken up.
After all, combining jazz and rock? With Bitches Brew the jazz-rock message was handed down from the mount on tablets of stone. Parker, of course, made his most innovatory music on record prior to the invention of the LP, so every collection of his brilliant music from the s is a latter-day compilation of the original 78rpm singles.
These days, you can buy the complete Parker Savoys and Dials in a lavish multiple CD set, but you get all the breakdown, alternative takes and other bits and pieces, making it a trial for all but the committed Parker enthusiast. Undiluted precedent-breaking music from Parker, aided and abetted by the best and most sympathetic colleagues of the day.
Feature Charlie Parker — Bird Lives! Just as with the Monk at number six, this classic album also represented a career breakthrough. Recorded not long after his Blues And Roots, but Atlantic deliberately held that back for over a year because the bassist had signed his first contract with Columbia, the major whose distribution, especially to the white audience, was much more powerful.
Recording of Brilliant Corners began 50 years ago next month, making an impact hard to imagine these days. The first new Monk album to receive more than a guarded welcome in the press, the praise was entirely justified. Rollins and Roach, currently making a success of the newly Clifford Brown-less Roach quintet, had worked for Monk before but both were seriously challenged by his material here.
Using the bubbly Clark Terry and Paul Chambers on a subsequent session was a stroke of genius, as was the unaccompanied piano track. And the whole thing was released just as Monk began his historic group with Coltrane. Feature Thelonious Monk: essential recordings. Was Sonny Rollins ready in ? Was he ready! But Saxophone Colossus towers above them all, not only because it concentrates on a quartet setting allowing undiluted access to the creative process of Sonny at his most inspired, but because it is one of those happy coincidences where all elements came off equally well, including the use of unusual repertoire and inspired originals.
This is still the biggest-selling jazz album of all time in Japan. Two weeks or so later LaFaro was dead and Evans left with the ashes of his first great group. The pianist obviously had great discernment because thousands of people have concurred with him since, naming this not only their favourite Evans album but the one that changed their lives and in some cases, their careers.
Not only were the three trio members individually at their peaks on that particular Village Vanguard Sunday, but they interacted with quietly fierce invention as never before, certainly not on record. Equal partners, they sustained a musical dialogue on selection after selection that has rarely been equalled within the earshot of a professional microphone, with the astonishingly inventive LaFaro perhaps meriting the sobriquet of senior partner at times, so dominant can he be.
The various CD versions of this set come in all manner of configurations, many with as much as five bonus tracks. Original is best, however, and you will not be disappointed by a CD containing the bare LP track line-up.
Feature: Ten life-changing jazz piano trio recordings. Anyway, few observers of the day were bothered by the hyperbole, more by the claim that Ornette had any musical worth whatsoever. What this album did in fact contain and represent was a completely different and fresh set of musical signposts within the jazz vernacular, both in terms of the stunningly bright melodic patterns Ornette crystallised in his vibrant and beautiful compositions and in his off-the-wall improvisatory approach.
He also brought back to jazz that rough, keening wail and constant pitch variations of the most basic blues and folk music. Ornette never did, either, bless him. Yes, Coltrane plays like a man inspired by something more than the job immediately to hand, as do the other three musicians involved, and yes the themes are unremittingly sober. Within jazz itself, the album ensured that the music could no longer be considered a social or cultural also-ran, the spiritual and humanistic concerns that made up its inspiration demanding that it be treated in the same way as the master creations of the art-music of any culture.
Nothing could be the same again. How does one properly gauge impact? Today, there it is on Hollywood soundtracks, an incontestable signifier of hip. There it is near the sales till, still moving up to 5, copies a week worldwide, outselling most contemporary jazz recordings.
And there it sits in at least five million CD collections. But perhaps Kind of Blue is better measured by the sum of the constituent parts. Five tunes, exceedingly simple in construction, exceptionally deep in evocative power, played by seven post-bop masters, all in their prime. Certainly, Kind of Blue must be measured by musical influence. Ask any number of influential music-makers who have been around, such as Quincy Jones, Herbie Hancock, and the like, they all agree. Miles was remarkably successful in marrying musical opposites: 20th century classical concepts such as harmonic simplicity, exotic scales and African rhythms all in a relaxed, swinging groove.
For one of its joint creators — John Coltrane — it pointed the way forward: he led much of the jazz world into the s after his modal lessons with Miles. At the close of the 60s, the modal idea became the foundation of fusion jazz. It proved the same for a number of rock groups, such as the Allman Brothers, Grateful Dead and Santana, that used the electric guitar as the solo instrument of choice, and set the standard for generations of jam-oriented bands to follow.
My theories on why that particular Miles album maintains its hold on the top of various charts never seem to settle comfortably on one explanation. I feel the ranking of a musical masterpiece is one that should be open to constant rethink, even if the status remains the same in the end. Or of 20, , or any number that would place one recording before another.
Musical value and appreciation is far too subjective a thing to be ordered neatly on a linear scale. One-dimensional exercises such as list-making seem especially un-hip and unrevealing when it comes to jazz, the most porous and democratic of musics, open to all influences, granting all styles equal value and importance. Free download football games for android phones. It is developed by the EA Mobile.
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