Compilations and Samplers

[BeBop]

For me, it's almost always a 'no like', at least now that I've become a more sophisticated listener (as opposed to when I started buying records at age 6, and had ill-developed taste and knowledge).

Sure, there can be some interesting items among the offerings, but I find that I prefer my music to be presented in something like a cohesive fashion, rather than shuffle play from the factory. Not every artist / producer has an overall presentation in mind, but many seem to.

In favor of the Sampler is the fact that it's often cheap and does offer some variety, say within the context of one label.

But they can also be a crapshoot - especially if it's a wide-ranging label, like present-day Blue Note. (On the flipside, a sampler from a small, focused label like Smalls* - or even the old Mosaic samplers - can be a great opportunity for discovery.) Still, if I see an interesting item or two, I'm more likely to pick up the 'source' (artist) album instead.

And you?

* I seem to remember a Smalls Records sampler, but I could be nuts. You get the idea.

[AndrewHill]

It depends. Personally, I'd rather have the music in the original format because more often than not, I'm going to want to hear more. I only have one 'compilation' and that's Sun Ra's Greatest Hits and I got that one because there is so much music, but over time I have bought a ton of Ra albums on Evidence and no longer need the album (although I can't seem to part with it either). For the novice listener, on the other hand, I see no problem with comps.

[Aggie87]

Some interesting comments in this previous thread.

[7/4]

Nah. I'd rather have the material in it's original context.

[Alexander]

I'm one of those weird people who will often buy compilations because I like the way the material is presented. In some cases, I own compliations in which I own ALL of the music in the original context, but I like hearing the music OUT of that context. I own several Beatles compilations (on LP and CD) even I though I own ALL of the Beatles albums (on CD and LP, in both British and American configurations).

[GA Russell]

I have quite a number of Greatest Hits albums of people I have no interest in getting more of.

As far as jazz samplers go, I used to like them a lot when new jazz CDs were $18.99 and the samplers were $4.99. Now that we have Your Music, the cheap samplers don't seem so attractive anymore!

Still, I enjoy listening to the samplers I have. It's just been a while since I have bought one.

[The Magnificent Goldberg]

I think samplers/cheapo compilations can be useful in encouraging you to stick your toe in the water. I got a few cheapos of Jelly Roll Morton, Chick Webb, Count Basie and Lionel Hampton about 18 months ago and the Hampton was really an earful - without it, I wouldn't have bought the Mosaic box in December. And I've decided to get a box of Morton, too.

MG

[JohnS]

Not too many in my collection. Like Holy Ghost I have the Sun Ra Greatest Hits for much the same reason, although I haven't gone on to buy many more Ra albums.

[Stefan Wood]

Before the change over to Concord, Fantasy released a nice series of samplers of their various label holdings. Thoughtful and great sound.

[Larry Kart]

Have disliked them for many years but have to admit that at age 12 there several compliations that were mind-openers for me -- an EmArcy intro to jazz 12-inch LP, "Jazz of Two Decades," a Jazztone Society 10-inch, and two Columbia's -- "I Like Jazz" and another one whose title I forget. What happened to me then, and it could happen to anyone in that you know almost nothing stage, is that 1) you have no filter except your own naive taste, and 2) you tend to accept that whatever they've put out in that form is really central and good. So for instance, on the EmArcy there was Charlie Ventura's "East of Suez" with a wordless vocal by Jackie and Roy, which sounded so incredibly weird to me in part because it was damn weird and I didn't have enough background to know that it was -- which again made it seem even weirder. Sarah's "Shulie-A-Bop" was also on that one and seemed pretty weird in its incredible plasticity of phrasing and timbre, and the hypnotic casualness with which she addressed each member of her trio: "Crazy Joe Benjamin" --ha!), but not nearly as weird as "East of Suez." That was like reading your first science fiction story or horror story without knowing that there were such things as science fiction or horror stories. On the other hand, there were some absolute classics on those discs; the Jazztone had Norvo's "Congo Blues" with Bird and Diz, the second Columbia had Armstong's "Savoy Blues" and Ellington's "The Sergeant Was Shy." (The latter is still my favorite Ellington recording; can't argue that is the best, I just love it.) The Jazztone also had a corruscating Pee Wee Russell stop-time blues solo, "Stuyvesant Blues" with Max Kaminsky, which kind of scared me because of its naked intensity and because I had no idea a clarinet could sound like that.

Here's what was on "I Like Jazz:"

http://mfhorn.net/discography/compelations...ike%20Jazz.html

Can't find info on the others, but there was more than one Jazztone Society sampler. The one that I can find info on is not the one I heard back then.

[paul secor]

Don't buy compilations anymore, but when I began listening to jazz, Riverside - The Soul of Jazz, introduced me to Monk, Blue Mitchell, Wes, Cannonball, Bill Evans, and others. I still have that record.

Compilations are probably a good way to go for a new listener. If they're good compilations, they'll soon lead to other things.

[MoGrubb]

I tend to stay away from compilations because I wind up having a bunch of duplicates.

[medjuck]

Coincidentally I was planning to post this morning about a sampler I found in Aomeba records last night. A Mosaic sampler! For $2.99 (used). Didn't even know of its existence before. Generally I only buy samplers if they're really cheap and they have at least one cut that sounds interesting to me. (Though I admit I bought the Blue Note "Three Tenors" just because the title was so clever-- I already owned all the cuts.)

Though I have about 20 Mosaics I only had one cut on this disc previously . Anyone here familiar with this sampler? It's on Blue Note.

[DMP]

I'm thinking a lot of people my age grew up the the Columbia samplers "I Like Jazz" and "Jazz Omnibus" - they were great introductions! And my introduction to the Pacific Jazz/World Pacific catalog was a 2 disc set called "Prime Cuts" which covered the entire history of the label (ending with Clare Fischer); most of the cuts were edited, but, then, what WASN'T on that label!

[king ubu]

Usually no compilations for me... but then having some short things together on a CDR is great, and also occasionally I get some oficially released compilations, like the Debut & Contemporary 4CD sets, which are very nice. Also have one of those Fantasy 1CD label samplers (HifiJazz/Nocturne).

And just recently I found two of those nice Rare Groove samplers with the 60s covers with almost nude ladies... most of the music on there is new to me, and much of it is by artists I'd never buy full albums... also some stuff I'm familiar with - one track from Ted Curson's OJC that I just finally found, and Watermelon Man from the Lambert Hendricks & Bavan album with Bean... very interesting to hear that in such a different context, and I figure these two discs will be nice to put on when we have guests over, too... just some fun stuff for casual background listening that's still interesting if you listen more attentively.

[Christiern]

True, many compilations and "Best of..." albums are just another way for a label to get more mileage out of their catalog, but I think compilations are good for people who are starting out, need to hear a variety of some genre or artist, and don't have a collection that duplicates selections.

There are also times when the compilation concept can serve as an excuse to issue material that otherwise might fall between the cracks (grooves?). When I was producing reissues for Columbia, I came across several recordings that had not been reissued (or even issued at all), because they did not naturally fit into any concept. That made me come up with "Stars of the Apollo," a 2-LP set featuring rare tracks by artists who had graced that historic stage. It is an eclectic blend of rarely or never before issued performances. I gave the art department an old Apollo ad and it worked well when stretched to fit the front and back of the LP sleeve. I did get some complaints from people who didn't grasp what I had in mind and, thus, wondered what it was all about, but the album did well and was also released as a 2-disc CD.

Anyone here familiar with this set?

[WD45]

Have disliked them for many years but have to admit that at age 12 there several compliations that were mind-openers for me -- an EmArcy intro to jazz 12-inch LP, "Jazz of Two Decades," a Jazztone Society 10-inch, and two Columbia's -- "I Like Jazz" and another one whose title I forget. What happened to me then, and it could happen to anyone in that you know almost nothing stage, is that 1) you have no filter except your own naive taste, and 2) you tend to accept that whatever they've put out in that form is really central and good. So for instance, on the EmArcy there was Charlie Ventura's "East of Suez" with a wordless vocal by Jackie and Roy, which sounded so incredibly weird to me in part because it was damn weird and I didn't have enough background to know that it was -- which again made it seem even weirder. Sarah's "Shulie-A-Bop" was also on that one and seemed pretty weird in its incredible plasticity of phrasing and timbre, and the hypnotic casualness with which she addressed each member of her trio: "Crazy Joe Benjamin" --ha!), but not nearly as weird as "East of Suez." That was like reading your first science fiction story or horror story without knowing that there were such things as science fiction or horror stories. On the other hand, there were some absolute classics on those discs; the Jazztone had Norvo's "Congo Blues" with Bird and Diz, the second Columbia had Armstong's "Savoy Blues" and Ellington's "The Sergeant Was Shy." (The latter is still my favorite Ellington recording; can't argue that is the best, I just love it.) The Jazztone also had a corruscating Pee Wee Russell stop-time blues solo, "Stuyvesant Blues" with Max Kaminsky, which kind of scared me because of its naked intensity and because I had no idea a clarinet could sound like that.

Here's what was on "I Like Jazz:"

http://mfhorn.net/discography/compelations...ike%20Jazz.html

Can't find info on the others, but there was more than one Jazztone Society sampler. The one that I can find info on is not the one I heard back then.

I think it is worth acknowledging the difference between a multiple-artist compilation, and a single artist compilation. My Jamaican music collection consists largely of multi-artist comps, and several of my rock/pop/country discs are single-artist comps.

A Jazztone 10" sampler opened my eyes wider to the world of pre-hard bop jazz. There is one listed on eBay right now.

In jazz, I prefer to have the full, original albums for the most part. Unless, of course, the recordings preceded the LP era.

[Debra]

True, many compilations and "Best of..." albums are just another way for a label to get more mileage out of their catalog, but I think compilations are good for people who are starting out, need to hear a variety of some genre or artist, and don't have a collection that duplicates selections.

There are also times when the compilation concept can serve as an excuse to issue material that otherwise might fall between the cracks (grooves?). When I was producing reissues for Columbia, I came across several recordings that had not been reissued (or even issued at all), because they did not naturally fit into any concept. That made me come up with "Stars of the Apollo," a 2-LP set featuring rare tracks by artists who had graced that historic stage. It is an eclectic blend of rarely or never before issued performances. I gave the art department an old Apollo ad and it worked well when stretched to fit the front and back of the LP sleeve. I did get some complaints from people who didn't grasp what I had in mind and, thus, wondered what it was all about, but the album did well and was also released as a 2-disc CD.

Anyone here familiar with this set?

I intend to get familiar with it as soon as possible, after reading the artists and songs on the cover!

[Larry Kart]

A Jazztone 10" sampler opened my eyes wider to the world of pre-hard bop jazz. There is one listed on eBay right now.

Mine had different stuff on it.

[The Magnificent Goldberg]

Here's what was on "I Like Jazz:"

http://mfhorn.net/discography/compelations...ike%20Jazz.html

That was a very popular LP - made #5 on the pop charts!

MG

[The Magnificent Goldberg]

True, many compilations and "Best of..." albums are just another way for a label to get more mileage out of their catalog, but I think compilations are good for people who are starting out, need to hear a variety of some genre or artist, and don't have a collection that duplicates selections.

There are also times when the compilation concept can serve as an excuse to issue material that otherwise might fall between the cracks (grooves?). When I was producing reissues for Columbia, I came across several recordings that had not been reissued (or even issued at all), because they did not naturally fit into any concept. That made me come up with "Stars of the Apollo," a 2-LP set featuring rare tracks by artists who had graced that historic stage. It is an eclectic blend of rarely or never before issued performances. I gave the art department an old Apollo ad and it worked well when stretched to fit the front and back of the LP sleeve. I did get some complaints from people who didn't grasp what I had in mind and, thus, wondered what it was all about, but the album did well and was also released as a 2-disc CD.

Anyone here familiar with this set?

That is one hell of an interesting compilation, Chris! I never saw it before.

Some of the unlikely ones have been reissued - I greatly admire your selection of "Fifteen minute intermission" rather than more obvious Cab material.

MG

[Christiern]

Thanks, MG. The Moms Mabley/Pearl Bailey track was an unissued alternate on which they both are having great fun and break up. Ruby Smith (Walker) was Bessie's niece by marriage (the main source for my Bessie bio). You may wonder who Bobby Brown was; he was a very talented, somewhat eccentric, saxophonist who worked with Mingus, Abbey Lincoln, and others, but only made one album under his own name, an excellent one that was never released. I could not get Columbia to issue the entire album, so I decided to get at least one selection out, its inclusion justified (in my own mind) by the fact that Bobby had performed on the Apollo stage with several bands.

BTW, marathon internet reviewer Yanow calls it a hodge-podge.

[catesta]

I started out with a lot of compilations, so I think overall they can be very helpful. In some cases I didn't even know I was buying compilations though and only found out when I ended up with the original.

As far as Jazz goes, I no longer go for the compilations but still find myself picking one up from time to time when in search of certain rock music groups.

[Big Beat Steve]

Anyone here familiar with this set?

Ha, I saw the light and grabbed this one a goodly 10 years ago (2nd hand but NM) for the very same reason you name: It's one of those compilations that go where others (less enlightened compilers) fear to tread. :D

Need to pull it out again and give it a listen. Thanks for making this music available, Chris!

It's actually this kind of V.A. compilations that I like to snap up. They either cover ground others tend to overlook (and thus fill gaps) or they make material available that would never make it onto single artist discs. How else would you reissue some obscure but fine artist who left only one single 4-track session from the 78rpm era behind?

And sometimes V.A. compilations from other albums can serve as a great introduction indeed. During my money spending sprees at Mole Jazz in the 90s I came across a copy of the mid-50s Liberty LJH6001 "Jazz In Hollywood" sampler which at that time held lots of new music to me. This made me explore the Liberty "Jazz In Hollywood" single artist series (either through originals on eBay or Fresh Sound reissues) so I now have most of them, and this naturally led to exploring the entire NOCTURNE catalog. All because of one sampler.

Re- that JAZZTONE sampler, I figured the one shown under the eBay link above was the one Larry Kart mentioned earlier. This Jazztone sampler still is all over the place (I have three different pressings of it, each with different artwork) - it must have sold (or was given away as an introductory offer, as evident from contemporary mag ads) to lots of record club members who otherwise would not have touched jazz with a 10-foot pole so it still crops up at garage sales. )

Yet no Pee Wee Russell playing "Stuyvesant Blues" on that, in fact that track was on Jazztone J-1009 (sez Bruyninckx) but on NO other Jazztone sampler, and "Congo Blues" seems to have been on Jazztone J-1204 only, so go figure ...

Edited February 6, 2008 by Big Beat Steve

[Larry Kart]

Re- that JAZZTONE sampler, I figured the one shown under the eBay link above was the one Larry Kart mentioned earlier. This Jazztone sampler still is all over the place (I have three different pressings of it, each with different artwork) - it must have sold (or was given away as an introductory offer, as evident from contemporary mag ads) to lots of record club members who otherwise would not have touched jazz with a 10-foot pole so it still crops up at garage sales. )

Yet no Pee Wee Russell playing "Stuyvesant Blues" on that, in fact that track was on Jazztone J-1009 (sez Bruyninckx) but on NO other Jazztone sampler, and "Congo Blues" seems to have been on Jazztone J-1204 only, so go figure ...

It's possible that I've got this all mixed up in my mind. It was about 53 years ago.