Cornerstones: A basic jazz library ...

[couw]

probably we're writing all these posts and completely miss each other's point, but who cares but the post count.

my understanding was that the original idea was to sort of delineate jazz and its various subgenres to people already bitten by the bug; people already interested and wanting a deeper understanding of the thing. so it's not gonna be for those people who dig "the shit out of Ayler or Pharoah and don't want to be bothered with Fletcher Henderson."

having a collection and the understanding of the music based on that grow organically is bound to cut off some realms that may prove to be rather interesting nonetheless. it's cool to have that pointed out and to have an "ideal" or "typus" album to explore.

[ralphie_boy]

As far as Spiritual Unity and Ayler in general is concerned; it's a matter of how open-minded and receptive you are to the different forms of jazz. To me, Spiritual Unity is just as essential as Kind of Blue or the Hot 5's and 7's. I'm not a big fusion fan, but if someone said that Bitches Brew should be considered a "cornerstone" in a well-rounded, jazz library, I couldn't disagree. Same with Spiritual Unity IMO.

[TedR]

Reading deus' first post brings out a couple different subtexts for this subject: 1) selecting the "cornerstones"; and 2) "I think this could be of great help to newcomers".

Unle Bill's post fleshed out the subject with "I'm often asked to recommend some albums to students that have no back ground in jazz."

So two different but related ideas came up: 1. selections for understanding the history and development of jazz; and 2. selections that might influence students to really like ("feel") the music.

I began to feel the music first. The interest to discover the "cornerstones" followed. As a kid I got tired of pop/rock albums that had one song or two songs I liked with the rest being mediocre. Then I realized I loved the horn solos by Chicago, BS&T, and the jams of Santana and Hendrix. They were more substantial. Then I heard Miles on the radio, appreciated his individuality, and my quest started. Began reading, going to concerts, taking courses as an adult hobby. And most recently while reading the old BNBB Lon and many others opened my mind to the greatness of jazz and its players from the 20's, 30's, and 40's. And as a member here my education continues. It's always fun to read a post from an experienced listener who says "I finally got it". Nothing's more satisfying than that! If I was played examples of Armstrong or Ellington before I was ready I may have decided jazz was not for me. To each his own starting point and to each his own pace.

[Simon Weil]

I know the first "proper" Jazz record I got was A Love Supreme, and I'm wondering if that is because (at least in part) Coltrane's whole thing was a quest. Like my whole interaction with Jazz is a quest - and the thing spoke to me out of that. So, maybe that is part of why Coltrane is so popular in general.

A Love Supreme as a cornerstone of the Jazz quest.

Simon Weil

[Adam]

I personally have found that the best way to introduce anyone to jazz is to take them a concert, where all the intimacy, excitement, and skill gets communicated. And with younger folk, take them to something with some "outness" to it.

I've brought two people to Pharoah Sanders; one to Brotzmann Chicago Ten (at Tonic); one to the Sun Ra Arkestra. One to McCoy Tyner. You get the idea. Of course, it doesn't always work. And it doesn't mean they'll necessarily start buying jazz CDs. But the fear of jazz is gone.

[Jazzmoose]

And with younger folk, take them to something with some "outness" to it.

Yeah, that's a big mistake us "old farts" make sometimes; since we were intimidated by "out" stuff at first, we assume they will be as well, and end up avoiding the very stuff that would pull them in!

[JSngry]

Whaddya mean "we"?

[Jazzmoose]

[Chuck Nessa]

And with younger folk, take them to something with some "outness" to it. 

Yeah, that's a big mistake us "old farts" make sometimes; since we were intimidated by "out" stuff at first, we assume they will be as well, and end up avoiding the very stuff that would pull them in!

Nope, it's you guys in the middle missing the point. "Old farts" got it a long time ago.

[Peter]

Seems I've spent the last twenty-five years trying to put togather a basic collection of jazz. With close to 2,000 discs, I'm still missing some essential stuff.

[neveronfriday]

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...)

Jazzmoose,

I didn't have this box set yet and went for it upon your recommendation (yeah, I know, I always need a bit longer than anyone else).

Before I continue: I always thought that this early Armstrong stuff was not really what attracted me to jazz. I filed all of it under "Dixieland" and said no way, José! Not me.

Well, how wrong I was. It's a great set, and the sound ain't bad at all, considering the source material. I'm not going to check now, but I think it's a Schaap job, and it's a job well-done (despite the nagging in regard to many of his other projects).

Of course, the packaging reduces the half-life of the actual CDs substantially, but I have to admit that in my eyes, it's a classy package worthy of the music presented within.

The music itself (it's blasting through my apartement as I write this) is eye- and ear-opening. I'm on disc two and am having a grand time. This one is going to keep me busy for quite a while because I'm hearing lots things I've heard on later recordings by different artists. There's tons of history here which to me sheds a light on roots I have so far not been able to appreciate all that much (and were therefore missed or simply ignored).

I found the set in my fave second-hand shop (sealed) for around $20 bucks and considering the amount of money spent on other, lesser collections, these were perhaps the best-spent $20 this year.

Thanks for the recommendation!

Cheers!

[neveronfriday]

By the way, I intend to keep this thread very much alive once I finally get through the wildest catch-up-on-work-after-having-been-sick-too-long phases I've ever had the good fortune of living through.

Cheers!