Cornerstones: A basic jazz library ...

[neveronfriday]

This is something that has probably been discussed before, but I want to try a thread here which, hopefully, will grow to really help someone who is new to jazz or someone who is just starting out.

I have looked all over the Net and dug my way through all the available forums, but the pages I found (and there are some), have never really been very satisfying.

So, here's what I propose: We all suggest some albums (and only those which absolutely should be in someone's collection), say why we selected that CD, and say which edition (remastering, reissue, etc.) someone should buy. It would help to have some sort of standard format for these entries.

I think this could be of great help to newcomers, but also to others whose jazz collections are not as extensive as some members' collections on this board.

I know that some of you will say that this is an impossible feat, that it does get in the way of some other threads (f. ex. AOW), etc., but I still think that one compact thread with a whole bunch of CDs recommended by those who love jazz (members of this board) could help someone who doesn't want to run a million queries here.

Let's see if we can get it together. Here's my first recommendation to suggest a common "layout" for the recommendations.

Cheers!

Artist: The Dave Brubeck Quartet

Title: Time Out

Recorded: 1959

Company: Columbia Legacy

Edition: 20-Bit Remastered from 1997

Comment: This classic album of compound time "[...] shows the blending of three cultures: the formalism of classical Western music, the freedom of jazz improvisation, and the often complex pulse of African folk music [...]." (from liner notes). Excellent remastering. From Amazon.com: "Boasting the first jazz instrumental to sell a million copies, the Paul Desmond-penned 'Take Five,' Time Out captures the celebrated jazz quartet at the height of both its popularity and its powers. Recorded in 1959, the album combines superb performances by pianist Brubeck, alto saxophonist Desmond, drummer Joe Morrello and bassist Gene Wright. Along with 'Take Five,' the album features another one of the group's signature compositions, 'Blue Rondo a la Turk.' Though influenced by the West Coast-cool school, Brubeck's greatest interest and contribution to jazz was the use of irregular meters in composition, which he did with great flair. Much of the band's appeal is due to Desmond, whose airy tone and fluid attack often carried the band's already strong performances to another level. Together, he and Brubeck proved one of the most potent pairings of the era."

Edited April 3, 2004 by deus62

[neveronfriday]

BTW: Do not be afraid to recommend an album which YOU consider to be a must-have for any library. I myself bought tons of stuff that has been recommended on this board, and I have never been disappointed really ... even if the music was not my kind of thing (yet). The recommendations have always been good ones (I always bought when a comment by someone intrigued me, so I think the 'comment' part of the recommendation will probably be where it's at).

Cheers!

[Jazzmoose]

Artist: Louis Armstrong

Title: The Complete Hot Five and Hot Seven Recordings

Recorded: 1925-1929

Edition: Columbia Legacy CK4K 63527 from 2000

Comment: Why? Because it all starts here. While it might not be apparent to today's listener at first (it certainly wasn't to me!), as the commercial says, "it's in there". I can't imagine not picking this one up in the first five years of a jazz fan's "listening career", and that's being generous with the time scale.

Note: Do not try to cheap out and pick up one of the older recordings on Columbia; the sound quality on this set is dramatically improved, even to my tin ears.

There may be a "best of" single disc compilation of this material; I don't know.

(I'm having trouble finding a picture; I'll reedit later if I have better luck...)

Edited April 3, 2004 by Jazzmoose

[neveronfriday]

Jazzmoose,

that's just what I meant. To be quite honest, I've never been a big fan of Armstrong, but the set you recommend sounds like one I should get if I want some Louis. So, I'll start scouting around. Thanks!

I'll post some more recommendations these next days.

Cheers!

[Bright Moments]

This is an ambitious project! Here's my 2 cents worth:

Artist: The Quintet

Album Title: Jazz at Massey Hall (20 Bit Mastering) [ORIGINAL RECORDING REMASTERED]

Original Release Date: May 15, 1953

Remastered date: August 20, 2002

Label: Debut

Here is the AMG Review: The music on this CD features the famous Massey Hall concert which teamed together (for the last time on records) the unbeatable team of altoist Charlie Parker and trumpeter Dizzy Gillespie along with pianist Bud Powell, bassist Charles Mingus, and drummer Max Roach. The full quintet performs six of their standards; listen to Bird burn on "Salt Peanuts" as a reaction to Gillespie's clowning. This is timeless and highly recommended music. — Scott Yanow

Here's the Amazon.com review:

Editorial Reviews

Amazon.com essential recording

One of the most famous live recordings in jazz history, this May 1953 concert from Toronto brought together five of bebop's greatest figures in alto saxophonist Charlie Parker (credited here as "Charlie Chan" in a purposely transparent attempt to sidestep Parker's exclusive recording arrangement with another record company), trumpeter Dizzy Gillespie, pianist Bud Powell, drummer Max Roach, and bassist Charles Mingus. Released following Parker's death two years after the date, the recording finds him in remarkable form, his playing robust, pointed, and witty. And although each participant is a band leader, composer, and groundbreaking stylist on his instrument, the performance demonstrates that Parker remained first among equals. Compositionally, Jazz at Massey Hall leans heavily on the bebop book developed by Gillespie, and includes "Salt Peanuts," "Wee," and "A Night in Tunisia." Also featured are Tadd Dameron's "Hot House," the Ellington standard "Perdido," and "All the Things You Are." Initially released on Debut Records, a label co-owned by Mingus and Roach, the sound quality is certainly of the time, but has benefited over the years from digital technology. --Fred Goodman

In my humble (and often ignored) opinion, this is a cornerstone cd!

B)

Edited April 3, 2004 by Evan

[tjobbe]

Artist: Gil Evans

Title: Out of the cool

Recorded: 1960

Edition: Impulse (2002 Japanese Edition as well as the 1987 first edition)

Comment: I was impressed when playing this for the first time 15Years ago. The balance between compostion, esprit and surprising moves still allowing the Soloist enough room.

La Nevada starts like Ravels Bolero and moving on and on while the Horace Silver tune Sister Sadie is one highlight for me.

Personally: I was totally amazed by the quality even of the first CD release (the Japanese one is even much better) and this put myself on the rail to follow up with other great records like the Coltranes released at that time on Impulse.

Cheers, Tjobbe

[A Lark Ascending]

Artist: Mike Westbrook

Title: The Cortege

Recorded: 1982

Label: Currently on Enja; orginally on Westbrook's own label

A composition for voices and jazz orchestra.

Kate Westbrook (tenor horn. piccolo. bamboo flute. voice)

Phil Minton (trumpet, voice)

Dave Plews, Guy Barker. Dick Pearce (trumpets)

Malcolm Griffiths (trombone), Alan Sinclair, Dave Powell (tubas)

Chris Hunter. Phil Todd. Chris Biscoe (saxes)

Lindsay Cooper (bassoon, oboe, saxophone)

Brian Godding (guitar), Georgie Born (cello), Steve Cook (bass) Dave Barry (drums)

Mike Westbrook (piano, tuba)

Music composed and arranged by Mike Westbrook.

Texts by Lorea. Rimbaud. Hesse. Blake, Belli, Clare, Saarikoski and others.

Cornerstones should be undermined from the off! Otherwise we all end up with the same record collections!

So here's a recommendation for an astounding disc that will get anyone starting out in jazz realising the sheer range and breadth of the music. I don't know a better large scale 'concept' jazz work.

The poems provide the core of the work but are set in music that is exciting, beautiful and plain peculiar by turns. The soloing is outstanding throughout.

Great moments? Malcolm Griffiths trombone solo on 'Leñador'; and the brooding 'Cordoba' (that one has haunted me so much I'm finally going there this August!).

Its nearly a quarter of a century old so can claim classic status.

A new listener with an armful of Coltranes, Armstrongs, Davis', Hawkins etc can only start their jazz listening off the richer by getting their ears round something that is such a contrast (and yet still quintessential jazz) as this.

Edited April 3, 2004 by Bev Stapleton

[Chuck Nessa]

We seem to have two different ideas going on here. Jazz "cornerstones" and recordings to seduce new converts are very different things.

The Armstrongs are the only recordings mentioned I'd find essential to understanding jazz, but the rest have "suckered in" a number of people.

It depends on the experience and "open-ness" of the audience.

[Upright Bill]

We seem to have two different ideas going on here. Jazz "cornerstones" and recordings to seduce new converts are very different things.

The Armstrongs are the only recordings mentioned I'd find essential to understanding jazz, but the rest have "suckered in" a number of people.

It depends on the experience and "open-ness" of the audience.

Chuck,

That brings me to a question I've wanted to ask for a long time but haven't. As a music teacher, I talk to my students frequently about jazz, how a particular technique would be used in a jazz context, how some jazz artist did something similar to what we are working on. As a result I'm often asked to recommend some albums to students that have no background in jazz.

So, my question is:

What 3 CDs can I recommend to a person that will convey the "heart and soul" of jazz?

I chose the number 3 to limit the answer to an amount of money that anyone, that can afford to pay for music lessons, could afford and to an amount of music that an interested person could listen to in one sitting.

[Chuck Nessa]

YIKES! A really tough question which needs to be taylored to the student. I can't answer that. You might not have enough either. SHIT (notice I did not use crap).

[TedR]

Bill,

One compilation that was used in a history of jazz class I took in college is The Smithsonian Collection of Classic Jazz. It includes tracks by, among others, Jelly Roll Morton, Louis Armstrong up through Parker, Monk, Rollins, etc. to Ornette Coleman and Cecil Taylor. Includes big band (Ellington) too. There was an updated cd version. I'd like to think it's still available for use in classes such as yours.

[AfricaBrass]

I'd suggest some Charles Mingus. I don't think you can go wrong with the first Mingus album I ever bought: MINGUS AH UM

It was the third jazz recording I purchased and I have a real soft spot for it. "Goodbye Pork Pie Hat" to me is worth the price of admission alone.

[A Lark Ascending]

So, my question is:

What 3 CDs can I recommend to a person that will convey the "heart and soul" of jazz?

I'd say it can't be done. Unless you believe that there is something objective called "the heart and soul of jazz". Everyone of us on this board has a sense of jazz that is different from the other.

I don't like the idea of narrowing things down that way. It's like those 'Six books you MUST read' articles in magazines. Three pieces of literature that reveal the 'heart and soul of America'. Well, which America? Whose America?

It's good fun to put together starter kits. Fun for those doing it. Helpful for newbies. Useful for all of us who might have overlooked things.

But three recordings that convey the heart and soul of jazz? You'll quickly be back to 'what is jazz?' and the usual disagreements.

[wesbed]

For me to debate with Chuck Nessa about what is or is not a jazz cornerstone would be quite a David & Goliath story. Me being David and he being Goliath. I'm not sure David would be the winner in this case. I do understand Chuck's point. That there are many memorable jazz recordings, but that not all are necessarily 'jazz cornerstones.' However, I don't know if I'd have had the opportunity to come to know any jazz cornerstones if I'd not been 'suckered in' by three important jazz recordings, cornerstones or not.

Brubeck's Time Out.

This is 'the one' that got me into the music. Before Brubeck, I was listening to Chuck Mangione and Spyro Gyra. Something about this recording captivated me to no end and made me dig deeper into jazz. Much deeper than I'd ever thought I'd go. I used to play this album during the summer months and it would remind me of Christmas.

Miles' Kind of Blue

The recording that made me sit back and think, "Yeah, yeah, this is what it's all about." The first time I heard Kind of Blue, the names Coltrane and Miles were new to me. I've spent many a blue night being captivated, enlightened, and spiritually fixed by this set of tunes.

Finally, Mingus Ah Um

Can't say why... I just always dug the hell of this one from Charles Mingus. It was the final of 'the big three' that pulled me down into the depths of jazz. I've had my jazz highs and lows but have never been able to get the music out of my system.

Not that I mind. Sometimes it's good to be 'suckered in.' My intention, here, is most definitely not to use the words of Chuck Nessa against him. I want this to be clear. I just thought it was interesting to read Chuck's words of 'suckered in' and had that thought that I was thankful for being 'suckered.'

I find it interesting to note that all three of my initial purchases into the world of jazz were on Columbia. Whereas, nowadays, I consider Blue Note to be my jazz label of choice.

AfricaBrass writes that his third jazz purchase was the Mingus Ah Um title. It's interesting that my third purchase was the same title. I wonder what the first two jazz purchases made by AfricaBrass were?

[Upright Bill]

Bill,

One compilation that was used in a history of jazz class I took in college is The Smithsonian Collection of Classic Jazz. It includes tracks by, among others, Jelly Roll Morton, Louis Armstrong up through Parker, Monk, Rollins, etc. to Ornette Coleman and Cecil Taylor. Includes big band (Ellington) too. There was an updated cd version. I'd like to think it's still available for use in classes such as yours.

I've tried to find the Smithsonian Collection for years now. Its out of print and I've never been able to talk the people that own it into selling it to me!

[Upright Bill]

I'd suggest some Charles Mingus. I don't think you can go wrong with the first Mingus album I ever bought: MINGUS AH UM

It was the third jazz recording I purchased and I have a real soft spot for it. "Goodbye Pork Pie Hat" to me is worth the price of admission alone.

You can't go wrong with Mingus (IMHO) in any circumstance!

[Upright Bill]

For me to debate with Chuck Nessa about what is or is not a jazz cornerstone would be quite a David & Goliath story. Me being David and he being Goliath. I'm not sure David would be the winner in this case. I do understand Chuck's point. That there are many memorable jazz recordings, but that not all are necessarily 'jazz cornerstones.' However, I don't know if I'd have had the opportunity to come to know any jazz cornerstones if I'd not been 'suckered in' by three important jazz recordings, cornerstones or not.

Brubeck's Time Out.

This is 'the one' that got me into the music. Before Brubeck, I was listening to Chuck Mangione and Spyro Gyra. Something about this recording captivated me to no end and made me dig deeper into jazz. Much deeper than I'd ever thought I'd go. I used to play this album during the summer months and it would remind me of Christmas.

Miles' Kind of Blue

The recording that made me sit back and think, "Yeah, yeah, this is what it's all about." The first time I heard Kind of Blue, the names Coltrane and Miles were new to me. I've spent many a blue night being captivated, enlightened, and spiritually fixed by this set of tunes.

Finally, Mingus Ah Um

Can't say why... I just always dug the hell of this one from Charles Mingus. It was the final of 'the big three' that pulled me down into the depths of jazz. I've had my jazz highs and lows but have never been able to get the music out of my system.

Not that I mind. Sometimes it's good to be 'suckered in.' My intention, here, is most definitely not to use the words of Chuck Nessa against him. I want this to be clear. I just thought it was interesting to read Chuck's words of 'suckered in' and had that thought that I was thankful for being 'suckered.'

I find it interesting to note that all three of my initial purchases into the world of jazz were on Columbia. Whereas, nowadays, I consider Blue Note to be my jazz label of choice.

AfricaBrass writes that his third jazz purchase was the Mingus Ah Um title. It's interesting that my third purchase was the same title. I wonder what the first two jazz purchases made by AfricaBrass were?

I find your three very interesting because its very close to the three that I frequently use. Often my choices are:

Charles Mingus: Ah Um

Cannonball Adderly: Somethin' Else (and I explain why this is actually a Miles Davis CD)

If its a guitar student then either Joe Pass: Virtuoso #3 or Jim Hall & Ron Carter: Alone Together

A bass student gets something by either Ray Brown, Milt Hinton or Red Mitchell

After thinking about this and reading some of the previous posts I realized that I don't really care to show the "heart and soul of Jazz" but I really want to "Sucker Them In"

Edited April 4, 2004 by Upright Bill

[Upright Bill]

So, my question is:

What 3 CDs can I recommend to a person that will convey the "heart and soul" of jazz?

I'd say it can't be done.

....

But three recordings that convey the heart and soul of jazz? You'll quickly be back to 'what is jazz?' and the usual disagreements.

You are absolutely right. See the last line in my previous post.

Edited April 4, 2004 by Upright Bill

[John L]

To maintain a maximum degree of objectivity, the choice of "counterstones" should probably be closely related to historical importance for the development of the music. How about

1) Louis Armstrong Hot Fives and Sevens (The cornerstone of jazz itself).

2) Count Basie Decca Recordings (The cornerstone of Swing).

3) Billie Holiday's recordings with Teddy Wilson (The cornerstone of jazz vocals and small group Swing)

3) Duke Ellington Blanton-Webster Band Recordings (The cornerstone of jazz composition, arranging, and big band execution.)

4) Charlie Parker and Dizzy Gillespie's recordings from 1945 (The cornerstone of modern jazz.)

4) Miles Davis' Walkin' and Kind of Blue (The cornerstones of hard bop and modal jazz.)

5) Ornette Coleman's Shape of Jazz to Come (The cornerstone of free jazz)

6) John Coltrane's A Love Supreme (The cornerstone of extended spiritual exploration in jazz improvisation.)

Of course, you could make other selections for these and other categories. But you get the picture.

Edited April 4, 2004 by John L

[Free For All]

On a related topic, I recently I did a jazz clinic for mostly educators, and I was trying to decide what to prepare for a handout. When I clinic high school or college jazz bands, one of the most frequent comments I make is that everyone (students and directors) needs to listen to recordings to learn about the music. You can't teach someone to swing by simply describing it.

Most things depend on the influence and vigilance of the director, however, and it's obvious that jazz is frequently not their area of expertise.

So I compiled a list of 28 essential jazz recordings (not a "most of all time" list by any means), something for both directors and students. Now this list was not by any means historically complete, and it represented mostly instrumental music. I was trying to choose recordings that contain examples of the various grooves I hear rhythm sections attempt, and I tried to represent each instrument in a big band. My list ended up consisting mostly of recordings from the late bebop and hardbop periods, roughly 1950-1965 (mostly Blue Notes). The only things outside of that period were the Hot Fives/Sevens and the Blanton /Webster Band sets.

It's fairly conservative list, and if I were making a Smithsonian-type compilation would be completely different (BTW, someone asked about the Smithsonian set- it seems I heard it's out of print. Is that true?). I was just trying to pick things that would represent musical circumstances encountered in most academic big bands.

Basically, it's a list of what I think is most important for students and directors to hear. I tried to limit it to a nice round number like 20 or 25, but decided to go with 28. What the hell.

Anyway, it's not really important what was on the list, and I'm sure there would be disagreement about content, but I found it interesting to see what I tend to gravitate towards (mostly hardbop). I think one thing that is so great about this music is that everyone finds their own cornerstones, and that's all that really matters.

[Late]

Without George Russell, there likely wouldn't be Kind of Blue as we know it. And — not that we'd expect otherwise from Ken Burns — Russell's omission from Burns' "Jazz" (along with at least Sun Ra and Lennie Tristano) was one of the most glaring omissions from a documentary that wanted to be at least quasi-comprehensive.

In that spirit, I'd say that this album is an authentic "cornerstone" of improvised music:

Recorded March 31, October 17, and December 21, 1956

The U.S. Koch (pictured above) and BMG France reissues both sound excellent. The BMG France reissue, however, uses the original, unaltered cover art.

Here's Nate Dorward's review of this album:

George Russell, like Gil Evans, had established a reputation as a brilliantly innovative thinker & arranger in the 1940s and early 1950s without more than a handful of his compositions being recorded — he'd contributed work to dates by Buddy DeFranco, Dizzy Gillespie, Miles Davis, &c, but this 1956 recording marks his first date as a leader. Except for a tuned-percussion solo on "Fellow Delegates", he doesn't play on this disc: the piano chair is held by a young Bill Evans, in what counts as his first major outing on disc. The recording would simply be notable for this fact: but it's in any case a major document. The rest of the band is Hal McKusick on alto & flute, Art Farmer on trumpet, Barry Galbraith (a Russell stalwart) on guitar, & a shifting rhythm section which on several tracks features a young Paul Motian.

It's still an astonishing disc. Russell's most celebrated innovations concern concepts of jazz harmony and melody--the "Lydian Chromatic Concept of Tonal Organization", a cumbrous name for an elegant & enlightening systematization of music theory which was a direct inspiration for the "modal jazz" of Russell's friend Miles Davis. But less recognized has been Russell's rhythmic innovations, which date back to "Cubano-Be/Cubano-Bop"--check out the bewildering introduction to "Ye Hypocrite, Ye Beelzebub" here, for instance. There's simply nothing else in the period like the extremely intricate polyphonies of Russell's arrangements. Russell was later to follow a similar path to Gil Evans, both in performing as a pianist with his bands despite playing what's often called "arranger's piano", & also more generally in loosening his arrangements to emphasize soloing rather than intricate part-writing. But this album remains the epitome of his early style, along with "All About Rosie" (on the now-out-of-print Birth of the Third Stream compilation) & the furiously intricate "Lydian M-1" (on Teddy Charles' Teddy Charles Tentet album).

This album has Russell's first recording under his own name of "Ezz-Thetic", his only composition to become something of a standard (it's an extremely difficult contrafact on the chords to "Love for Sale"). Its centrepiece, though, is the "Concerto for Billy the Kid", a very fast tune (again, written on top of a standard--this time "I Remember April") which after a densely-woven introduction is turned over to Bill Evans. One of the most welcome things about this reissue is the inclusion of an alternate take of this track (recorded a month after the first take) with a different rhythm section. Both versions are masterful.

This is one of the essential jazz recordings of the 1950s.

[JSngry]

As much as I like the idea of "a basic jazz library", my personal experience tells me that the only truly meaningful way to assemble one is through personal discovery, trial-and-error, etc. If you really, really, feel the music, you'll get to all the classics eventually, when you're ready for them (and when they're ready for you), and the music will then have PERSONAL meaning, it won't be an assemblage of things that you listen to because you're "supposed" to like them.

Granted, this way takes a lot longer, usually, and can/will lead to periods of "false expertise" (again, I speak from personal experience here). But we all go through various stages of personal development, right? So why should our musical development be any different? A listener is a living being, the music is a living organism (ideally), and living things develop at their own pace, like it or not!

So I say just go for what you like, and ASK QUESTIONS, both of others and of yourself. Dive in, be fearless, explore, connect-the-dots, respect the knowledge of your elders but don't accept it blindly (wait until they've been proven right first! ), all that. Music is indeed medicinal, but it need not be treated like medicine, something that you "have to" take in order to be well. It's more nourishment, and pallates develop as they will. Guide, by all means (PLEASE!), but by no means force - you can't MAKE anybody like ANYTHING.

If you feel it, you'll get it, eventually. It's like the song says, "Them that's got shall get, them that's not shall lose". Probably not what the Lady specifically had in mind, but of such Universal Applications are Eternal Truths made.

[TedR]

As usual, Jim, very true. I came to that song and the originators through David Clayton Thomas and BS&T.

[Simon Weil]

Of course there is a certain tension between turning people onto Jazz and giving them recordings central to the History of Jazz. And when I capitalize History of Jazz, I mean to imply that there is a certain didactic element in that which people may not appreciate so much. Kind of "Here is an important record, listen to it".

I've never been much good at turning people onto Jazz (I was much better at turning people onto Rock), perhaps that's because the thing is so much like a spiritual quest to me, listening to it. Very personal. Just occasionally I will hit upon a good record, because I know the person and sense that this would be the thing for them (e.g. an Akura Dixon record for my sister in law).

Kind of Blue is the obvious record for this sort of thing, and I have been successful with that. Partly it's a great record - but I think it also speaks to us now. Being the biggest-selling Jazz record means it is THE cornerstone record of Jazz in a certain way. But I think the peculiar melancholy of it is something that may not play so well at other times. Billie Holiday is another like that.

Hot Fives and Hot Sevens is universal, for me.

Simon Weil

[JSngry]

As usual, Jim, very true. I came to that song and the originators through David Clayton Thomas and BS&T.

Same here. And I still dig Fred Lipsius' alto solo, even though I NOW know (as I did not know then) that it's a Cannonball Clone!