The 100 Jazz Albums That Shook The World Jazzwise

The 100 Jazz Albums That Shook The World

This catalog was published in the August 2006 issue of Jazzwise magazine and has quickly established itself as a key reference for anyone interested in jazz's rich history.

It is a definitive 100-page look at the most important and influential jazz albums that changed and shaped the course of music from the 1920s to the present day.

The 100 Jazz Albums That Rocked the World features in-depth editorials on each album by Jazzwise's esteemed writers, a look at the making of the top three albums, reviews of albums that sadly missed out on the list, and a buying guide for the featured titles on LP and CD.

2006 List

Polar Bear: Held On The Tips of Fingers (Babel)

Sebastian Rochford (D), Pete Wareham, Mark Lockheart (TS), Tom Herbert (B), Leafcutter John (programming), Jonny Philips (G), Ingrid Laubrock (TS), Joe Bentley (TB), Emma Smith (V), Hannah Marshall (C). Rec. 2004-2005

This is the brilliance of A Polar Bear at My Fingertips, the second album from the band that nearly won the 2005 Mercury Music Prize. In addition to being one of the most talented jazz drummers of his generation, bandleader Sebastian Rochford creates highly original chamber music. A crossroads of styles where folk, avant-jazz, electronica and raw punk coexist, Rochford's music is aptly named "the sound of the future," though betrayed by his love of Ellington, Monk, Yes and Napalm Death. With the power of his fingers in hand, he packed digital frustrations into the forefront of heavyweight tenor saxophonist, dazzling with folk anthems like "Bear Town" and the drum and bass-infused "Fluffy." The prototype gave the new British jazz bands the courage to call themselves rock bands and stretch beyond their comfort zone. (TB)

99 The Bad Plus: These Are The Vistas (Columbia)

Ethan Iverson (P), Reid Anderson (B), Dave King (D) Recorded in 2003

Few jazz groups these days are big-headed. They go in there, push furniture up, push things out of windows, and generally make a nuisance. This is very refreshing for Bad Plus. They do things that jazz piano shouldn't do, like Blondie's "Heart of Glass" and Kurt Cobain's "Smells like Teen Spirit." (SN)

98 Courtney Pine: Journey To The Urge Within (Antilles)

Courtney Pine (TS, SS, B-CL), Kevin Robinson (T), Ray Curless (Bar S), Orpheus Robinson (VB), Julian Joseph (P), Roy Carter (KY), Gary Crosby (B), Mark Mondesir (D), Cleveland Watkiss, Susai Green (V) Recorded in 1986

An impulsive journey featuring Courtney Pine, one of the leading figures in the new generation of British jazz musicians. A pied piper who led British jazz out of the depths of despair after the glorious heyday of the 1960s, he was compared in America to the charismatic Wynton Marsalis as the voice of a new breed of technically successful young jazz musicians. Pine's music was powerful and forceful, in the tradition of great saxophone tenors such as Coltrane and Rollins. It achieved an unprecedented Top 40 ranking for a British jazz album, and won a silver medal. (SN)

97 Tomasz Stanko: Soul Of Things (ECM)

Tomasz Stanko (T), Marcin Wasilewski (P), Slawomir Kurkiewicz (B), Michał Miskiewicz (D) Recorded: 20I01

Stanko's masterpieces Litania and Leosia could have been on this list, but The Soul of Things, led by a trio of young Polish musicians from his early teens, was his best album on ECM and attracted the attention of an international audience more than anyone else. He also contributed to the growing awareness outside Europe, especially in the United States, that important music was coming out of the old world. The album is a brilliant composition of melodic fragments, with the timeless elegance of Stanko's trumpet and the humorous playing of his young students. (SN)

96 Medeski, Martin and Wood: Combustication (Blue Note)

John Medeski (KY), Chris Wood (B), Billy Martin (D), DJ Logic Recorded: 1998

Since the formation in 1992, many have welcomed Medesky Martin and Wood as a molt from conservative jazz, while others believe they have completely molted. The Hammond B-3 Organ Trio, which has been supporting jazz for at least 50 years in his own way, has spread the border of jazz with groove and extensive keyboard improvisation. If you try Coconut Bogaroo or Sugar Craft, try to see if you can stop dropping your finger. As revealed here, they enjoy the core value and return to the chicken style and the 21st century style. (SN)

95 Wynton Marsalis: Black Codes From The Underground (Columbia)

Winton Marsalis (T), Branford Marsalis (SS, TS), Kenny Kirkland (P), Char Net Movett (B), Jeff Watts (D) 1985

The Black Code shows the time when a young Wington career has escaped from the bathroom / Hancock prodigy and has begun to open its own territory. The first music area had already been eroded by various members of Miles Davis and John Coltrane, including both leaders, but Marsalis demonstrated his great musical personality and performed with a great invention. I'm doing it. In the future, it will shift from that base, but he has a good set of his aesthetics booth (ks)

94 Cassandra Wilson: Blue Light ’Til Dawn (Blue Note)

Cassandra Wilson (V), Charlie Barham (VN), Brandon Ross, Gib Walton, Chris Witly (G), Kenny Davis, Ronnie Praxico (B), Kevin Johnson, Lance Curter, Silo ・ Baptista, Bill Maculan (D, Perc), others. 1993

The female jazz vocals have experienced a many incorrect dawn between the late 1960s and the appearance of Cassandra Wilson's Blue Light in 1993. Jazz and blues roots are often vocals that are the starting point of all types of revival. Wilson, who announced "Burned Alto Voice", not only finds a crossover audience, but also creates a new consensus alongside the Great American Song Book to enhance her artistic reliability. It is appropriate to extend. The fact that she keeps on this path more or less suggests that she is effective in every aspect. It also points to the way to those who follow. (KS)

93 Jan Johanssen: Jazz Pa Svenska (Megafon)

Yang Johansson (P), Georg Redel (b) Recording: 1962-64

This is a seminal recording that defined the Scandinavian tone in jazz, a genre known as Scandinavian blues that values intensity, color, space and meaning over virtuoso athleticism. Johansson's jazz interpretation of Svenska Rothar's ancient Swedish folk songs, his careful sensitivity to sound, gradations of touch and the exquisite detail of each note revealed by the meticulous recording quality, captured a unique approach to jazz that became widely influential. Players such as Mike Brecker, Tommie Smith, Jan Garbarek, Esbjörn Svensson and Tord Gustavsen all fell under the spell of the Scandinavian tone. (SN)

92 Sarah Vaughan: Sarah Vaughan (EmArcy)

Sarah Vaughan (V), Clifford Brown (T), Herbie Mann (F), Paul Quinichette (TS), Jimmy Jones (P), Joe Benjamin (B), Roy Haynes (D) Recorded: 1954

By the late 1940s, Vaughan had become a byword for vocal worship among her peers and fellow musicians, but few of her recordings prior to this album consistently demonstrated her true worth in jazz. In sympathetic small-group settings, Sassy blossomed into a compelling artist. It may have been the case elsewhere later, but here, the gauntlet was truly thrown down. (KS)

91 Music Improvisation Company: Music Improvisation Company (ECM)

Jamie Muir (Perc), Hugh Davis (Elec), Evan Parker (SS), Derek Bailey (El G), Christine Jeffery (V) Rec. August 1970

MIC is a watershed between free jazz and free improvisation. For Evan Parker, the use of live electronics and increasing reliance on the soprano eventually led to the electro-acoustic ensemble. It meant a shift from creating powerful and expansive sound edifices, forms and textures that provoke nature, to, to put it just a little more exaggeratedly, a journey into the very DNA of sound. Less interested in the universal or the cosmic, MIC explored the microcosm through the concept of non-dynamic improvisation. Strange and disturbing, but mysteriously fascinating. (DH)

90 Charlie Haden: Liberation Music Orchestra (Impulse!)

Hayden (B), Don Cherry, Michael Mantler (T), Roswell Rudd (TB), Bob Northern (FR HN), Howard Johnson (TBA), Perry Robinson (CL), Gato Barbieri, Dewey Redman (TS), Sam Brown (g), Carla Bley (P, ARR), Paul Motian, Andrew Cyrille (D) Recorded: 1969

Although jazz and politics have always been linked, it is rare that the connections have been cleared in the history of music. The 1960s were 10 years when the orthodox reversed, and Charlie Hayden's debut album, which was announced at the end of the last 10 years, is one of the most clearly supported works of lef t-wing emotions found throughout the jazz world. be. However, the songs by Hayden, Bray and Ornette Coleman are uniformly powerful, and the cast that solidifies the side gives intense inspiration. It was 40 minutes I could believe if I believed. (KS)

89 Jackie McLean: Let Freedom Ring (Blue Note)

Jackie McLean (AS), Walter Davis (P), Harvy Lewis (B), Billy Higgins (D) REC.

McLean had also announced some ambitious and excellent albums before the album, but for some reason he had no fulfilling concept, pushing him to the forefront of music. He is impressive songs ("Melody for Melonae"), attitude towards musical freedom, which has been fueled by new politics at the time, and frankly to the other members of the group. That was the case with the consistent combination of commitment. He continued to make a more satisfying album, but this album broke its type. (KS)

88 Joe Harriott-John Mayer Double Quintet: Indo-Jazz Suite (EMI Columbia)

Joe Harriott (AS), Kenny Wheeler (T), Pat Smile (P), Colidge Good (B), Alan Ganly (D), John Meirer (VN, Chambalo), Chris Taylor (F) , Diwan Motihal (Citar), Chandrahas Pie Ganka (Tambra), Keshan Satee (Tabla) Recording: 1965

In improvisation performances with Bud Shank in Ravi Shancarl in 1962 and Don Ellis in 1965, Hindus Stittani Jazz Sex (unrecorded) quickly led the times, but jazz and Indian musicians. The first complete collaboration Indian jazz suite was so hip that it hurt 1966 in 1966. It wasn't as good as Indian Jazz Fusion I and II, but this work is the feast of Gaball, Shakti, Trilok Gutu, Mukta, Nitin Soony, and the subsequent Indian jazz feast. It started with. (JN)

87 Django Reinhardt: Rétrospective 1934-53 (Saga)

Jango Reinhardt (G), France Hot Club Quintet, Leluou Gast, Joseph Reinhardt, Emmanuel Ves (G), Louis Vola, Cholish Good (B), Juber Rosting, Andre Ekiyan (CL) ), Alix Conbel (TS), Gianni Suffred (P), Aurelia de Caloris (D), many others. Recording: 1934-1953

This great gypsy performed almost all recording in an album before the album, which was a legitimate honor from France shortly after death, but most of the early records released in the UK are indifferent sounds. It was a random collection. Instead, this compact box set of this hig h-quality CD 3-piece, with a wonderful booklet of French and English with gorgeous photos and discography details, is amazing. In a sense, it is the best primer that introduces geniuses step by step. The transcriptions from the original 7 8-rotation single are wonderful, with selected titles, from the early days of Hot Club to pos t-war member change and electrified guitar experiments. (KS)

86 Steps Ahead: Steps Ahead (Elektra/Musician)

Michael Brekker (TS), Aerene Elias (P), Mike Mainieri (VB), Eddie Gomez (B), Peter Earthkin (D) 1983 recorded

However, before the debut from the US label, Steps Ahead had built a powerful group identity as a critic called "New Acoustic Fusion". Many of the reasons were in a repertoire that rarely used direct rhythms and contained an associated song. For example, "Both Sides of the Coin" that uses Latin rhythm and rondo format, "LOXODROME" that presents modern advanced means for improvisation. But the supporters still say why they don't play 12 bars. It's a really breathtaking performance for such an untouched chamber music jazz group. (SN)

85 Krzysztof Komeda: Astigmatic (Polskie - Nagrania Muza)

Kushetof Komeda (P), Tomash Stanko (T), Zbignefev Namis Lovski (AS), Gunter Lentin (B), Rune Carllson (D) Recording: 1965

ASTIGMATIC is one of the works that contributed to the formation of European aesthetics in jazz composition. Stanko himself states that the album is an album that he never made in the United States, indicating Komeda's daily work as a composer of more than 40 films. "The movie determines the unusual composition," Stanko recalls. In fact, this quintet responds to Komeda's composition with the joy of sound. There is a measured intensity here, but there is also an improper inspiration. (SN)

84 Anthony Braxton: For Alto (Delmark)

Anthony Braxston 1969 recorded

The song of a tribute to innovators such as John Cage, Cecil Taylor, and Leroy Genkins clearly shows where the association for the advancement of creative musician icons came from, but this revolutionary solo Few people know where she was, no, how far she was going. Blakston's Alto Sachs is like the sound of acid dripping from the wings of the bee, and is an attractive corrosive caress. Through a stunning dynamics, lyric, harmony, and pure sound tricks, Brakston showed that one horn could become a full orchestra, and a few years later, Sony Rollins' way to similar attempts. Opened. The downbeat magazine gave Fore Alto five stars and described it as "revolutionary." They were right.

83 Diana Krall: Love Scenes (Impulse!)

Diana Clare (V, P), Russell Malone (G), Christian McBlide (B).

If there was no Diana Clare in 1997, what would happen to today's vocal jazz today? In particular, the current situation where many other singers are rampant is probably incomprehensible. However, Clar is the original in all aspects, including texture, taste, honesty, independence, and musicality. Regardless of what kind of environment she chose for the past decade, it was right. Love Scenes is a trio album, which foresee a big crossover with orchestra, but it is a thoroughly convincing artistic manifesto, including all important elements of Clar. It's no wonder that people listened. (KS)

82 Steve Coleman And Five Elements: The Tao Of Mad Phat: Fringe Zones (RCA/Novus)

Steve Coleman (AS), Andy Miln (P, Ky), David Gilmore (G), Reggie Washington (el B), Roy Hurglov (T), Josh Rosman (TB), Kenny Davis (TB) B), Junior "Gab" Weder Burn (Perc) Recording: 1993

Jazz as a funk, funk as jazz. The two dictionaries are intertwined and fused, losing the meaning of the great live album in the 1990s. Coleman has already been a hot topic in the release of the JMT label, but his performance and writing here are more insightful and focused. Vivid, stabbed, stuck rhythm and melody line are repeated enough to be ecstatic, giving the impression of a huge music pinball machine on the rotating floor. From the F-IRE group to the Omar Sosa, not only has a decisive impact on everyone, but Coleman has always reflected something in that era. Here, he captures the emphasis on the rise of the Internet era and the bold assertion of the hi p-hop generation. (KLG)

81 Eberhard Weber: The Colours of Chloë (ECM)

Weber (B, cello, ocarina), Rainer Bruninghaus (P, Sinn), Ack van Rooyen (FLHN), Peter Giger, Ralf Hübner (D, Perc), cello of the Stuttgart Orchestra. Recorded in 1973. Eberhard Weber's debut album was one of the most important openings for ECM's appearance on the jazz scene as the arbiter of contemporary jazz taste. The music, completely free of the modern Americanism of the time, was full of light and color derived from the European modernist classical and cinematic traditions. It was therefore a treasure trove of completely fresh pleasures. Weber uses his bass technique to express melodies that no one has played before, alternating between lush and serious backings and small keyboards and standard percussion to create big atmospheres. Introduction (KS)

John Surman (BS, SS), John Warren (BS, F), Mike Osborne (AS, CL), Alan Skidmore (TS, FL), Kenny Wheeler, Harry Beckett (T, Flhn), John Taylor (P), Burl Phillips, Harry Miller (B), Alan Jackson, Stu Martin (D Recorded: 1971

80 John Surman: Tales Of The Algonquin (Deram)

Just like the Canadian John Warren's album with fellow bartender John Surman, this record showed Surman as a rising star. Many UK jazz albums could have filled this slot, but the ecstatic, uplifting playing of Surman and company and Warren's brilliant, provocative writing make this album the winner. This was a brilliant testament to the new confidence of British jazz. Warren's success lies in working within the big band tradition but expanding it by incorporating elements of free play, driving complex layers of powerful polyrhythms and organic resources. An absolute and undeniable joy. (DH)

Oliver Nelson (AS, TS), Freddie Hubbard (T), Eric Dolphy (F, AS, BCL), George Barrow (Bar S), Bill Evans (P), Paul Chambers (B), Roy Haynes (D) Recorded: 1961 For most of his career, Nelson has been a rare musical craftsman who did everything well and was rarely remembered. This is an exception. Aided by a cast that included Freddie Hubbard, Eric Dolphy, and Bill Evans, Nelson delivered deep blues meditations (including "Stolen Moments") backed up by powerful, inventive tenor sax playing. He also left behind at least one cool classic of modern jazz-blues-and-roots music that eschewed all hard-bop clichés. (KS)

79 Oliver Nelson: The Blues And The Abstract Truth (Impulse!)

Betty Carter (V), John Hicks (P), Curtis Randy (B), Kenny Washington (D) Recording: 1979

Listening to this album will give you catharsis. "Sounds" is a 2 5-minute tour that allows you to listen to the power of the scat while changing the tempo and meter, and there are scenes where Carter, Hicks, Randy, and Washington play with different meters. The highlight of this album is "My Favorite Things", the accompaniment of Hix is the opposite of Carter's singing voice, and the coda shows an explosive excitement so that the voice or piano is not dominant. There is a limit to one of the best vocal jazz albums in history. It is one of the famous contemporary jazz. (SN)

78 Betty Carter: The Audience With Betty Carter (Betcar)

Art Tatum (p) 1953 recorded

For decades, Tatum was the first candidate for jazz pianists as the greatest piano, but until the early 1950s, his wel l-known pianists were still low. Until Tatum died in 1953 to 1956, Grantz recorded more than 200 song selections and published from Kleph and Vave. Since then, Tatum's popularity and critic's reputation have become unwavering, and his baroque music has been thrilled and feared. The first series has individual consequences. Tatum's Kleph and Verve are all released on Grantz's latest labels, Pablo (KS).

77 Art Tatum: The Genius of Art Tatum No.1 (Clef 1953)

Charles Lloyd (TS, F), Keith Jarrett (P), Cecil McBee (B), Jack Dejonet (D) Rec. 1966

Charles Lloyd Cartet, selected as "New Star" in the 1965 downbeat magazine, caused a whirlwind in 1966 jazz, incorporating an oriental texture and Spanish soul. ・ I expanded the horizon of music by jazz. Dream Weaver sent Keith Jarrett and Jack Dejonette to the world ahead of the next flower of LPS, and Lloyd's Love Inn was the most sold in the jazz world. However, the album was the first topic to reflect the free spirit of the psychedelic 1960s and perform in the early performance of Filmore. Miles also focused on jazz and Dejonet jazz rock experiments and said the beginning of the new era. (JN)

76 Charles Lloyd: Dream Weaver (Atlantic)

Oscar Peterson (P), Ray Brown (b), Ed Tippen (D) Recording: 1962

By 1962, Peterson's trio was one of the most popular in jazz circles around the world, and Peterson himself was usually the winner of jazz piano popularity polls. Why? His switch from piano-bass guitar to piano-drums in 1958 gave the group room to develop its weaker, harder side, emphasizing melody over swelling fireworks. Night Train epitomizes this approach: cool, funky, incredibly focused and thoughtful, it covers everything from C-jam blues to morten swing to "Hucklebuck," and comes together as a perfect modern tribute to jazz's funky roots. Sweet Canadiana may have been Peterson's creative high point, but Night Train defined him. (KS)

75 Oscar Peterson: Night Train (Verve)

Herbie Hancock (P), Michael Brecker (TS), John Scofield (G), Dave Holland (B), Jack DeJohnette (D), Don Alias (Perc) Recorded in 1996

From the opening of "New York Minute," this album explodes with energy and creativity. Hancock is on his feet, Brecker is on fire. But while the playing is exemplary, it's the repertoire choices that make this album stand out. "New York Minute" is a song from Don Henley's album "The End of Innocence," which features songs by Steely Dan, Peter Gabriel, Paul Simon, and Prince, one of the first albums since 1990 to revisit songs from popular culture as the basis of jazz improvisation. But it's all perfect, burning with the finest New York jazz, pushing the green light for others to follow suit. (SN)

74 Herbie Hancock: The New Standard (Verve)

Roland Kirk (F, Mzo, Stritch, TS), Jaki Baird (P), Richard Davis (B), Elvin Jones (D).

Because Elvin Jones consistently lit the fire for the quartet and Kirk in general. It's also clear that he was inspired by the playing of pianist Jaki Baird, and he consistently takes risks in everything he does. After the flute album Speaking with the Spirits, he released Serenade in a Doll, and in 1968 he attacked Burt Bacharach and others on the Volunteer album Slavery (KS).

73 Roland Kirk: Rip, Rig & Panic (Limelight)

Thelonious Monk (P), Idris Slimane/George Tate (T), Danny Quebec West/Sahib Shihab (AS), Billy Smith (TS), Gene Ramey/Bob Page (B), Art Blakey (D). Recorded in 1947.

The Monk's early people were sinking almost without traces when they were first released as a 7 8-turn single, and only a handful of players only when LP was released under this title in the mi d-1950s. It was not known. However, the Blue Note is very lonely, and for more than a month to get the first small version of "Round Midnight", "Ruby My Dear", "THELONIOUS", "at Walked Bud". I have done some sessions. Except for Idress, the soloist did not reach the pianist level. However, miraculous blare keys are one of his best boards. (BP)

72 Thelonious Monk: The Genius Of Modern Music, Vol. 1 (Blue Note)

Wayne Shorter (TS), Freddie Havad (T), Harvey Hancock (P), Ron Carter (B), Ervin Jones (D).

The album, which was recorded a few months after the miles, is performing with Hancock and Carter with the shorter mature in a complex and improvised style. In a way, this is an essay about the shorter's "Grouvi", but the feeling of the angle never seems to reach this inevitable level, and he doesn't think he wants it. Of course, Harvey would have achieved it in Maiden Voyage a few months later. We want to say Vive Le Differn ... (ks)

71 Wayne Shorter: Speak No Evil (Blue Note)

Darlor Brand (Abdora Ibrahim) (SS, KYS, P), Gary Chandler (T), Marindi Blythe Mvitiana, Craig Harris (TB), Carlos Word (AS), Jeff Jaywarer King, Dwane ・ Armstrong (TS), Kenny Rogers (BS), Lawrence Lucy (BJO), Cecil McBee (B), Miguel Pomier, Andre Strobert (D, PERC). Recording in 1980.

In 1963, Duke Ellington discovered and recorded a pianist and composer, also known as Abdura Ibrahim's dollar bill. More or less, he played in the conventional jazz method, but it took a long time to accept South African music, which developed in the 1970s, in countries other than Africa. The album was one of the first things in the United States, and its impact was enormous. Melodism, warmth, and simplicity are often overheated, and they are filled with testosterone, bringing new and fresh things to the sharp pit of a small group that improvises in the established harmony pattern. As Jelly Roll Morton said 50 years ago, the best is born from true teamwork. (KS)

70 Dollar Brand (Abdullah Ibrahim): African Marketplace (Elektra/Musician)

Stan Tracy (P), Bobby Welins (TS), Jeff Klein (B), Jackie Dogan (D Recording: May 8, 1965

Tracy is indispensable and a human mission. She shows how much can be achieved in the basic form of jazz quartet. The reaction at that time seemed to be where it came from. The eight songs of cohesion, vitality, and brai n-like tracy are surprisingly not only the great works of Thomas, but also creative processes themselves and countless sources that jazz can be searched for inspiration. It gives you an insight. This album, which features a cheerful and picaresque song and a solid performance reflected in "Thomas" (Thomas's Daikyu), is a wonderful and humorous work that spreads the border in a surprisingly delicate way. 。 After that, there are more jazz than always blowing. (DH)

69 Stan Tracey: Jazz Suite Inspired By Dylan Thomas’ Under Milk Wood (EMI/Columbia)

Esbjorn Swenson (p), Dan Bergulund (B), Magnus Estrem (D) 1999 recorded

The Esbjorn Sewenson Trio did not suddenly appear. It took more time than other European countries for Britain, who often seeks jazz heroes in the United States, than other European countries, but this album triggered them. The deeply feeling of melodies, the seamless intensity of the Scandinavian tone, and the relatively unusual composition similar to their composition, both jazz fans and fans who are not. I appealed to the humanity. (SN)

68 Esbjörn Svensson Trio: From Gagarin’s Point Of View (ACT)

John Handy (AS), Mike White (EL VN), Jerry Han (G), Don Thompson (B), Terry Clark (D) Rec. 1965

Handy, who has just left Charles Mingus Band, contracted with Colombia in September 1965 with this stunning hypnosi s-like performance, Charles Lloyd, Gaboration, Miles Davis, John McLaflin. I gave a shock to. These two songs, which are rooted in the free flow of the classic quintet in which Coltrane partnered with Eric Dolphy, will begin with the handy "Mesmerizing". In December 1965, it was the first jazz act played at the San Francisco circular theater in San Francisco, and it is no wonder that the fourth mode and subsequent sounds have opened the spirit. (JN)

67 John Handy: Live At Monterey Jazz Festival (Columbia)

Gil Evans (p, arr, comp), Johnny Coles, Ernie Royal, Thad Jones, Bernie Grow (t), Frank Leehack, Jimmy Cleveland (tb), Julius Watkins, Bob Northern (Fr h), Bill Barber (tba), Steve Lacy (ss), Eric Dolphy (f, as, bcl), Wayne Shorter (ts), Garvin Bushell, Jerome Richardson (reeds), Kenny Burrell (g), Milt Hinton, Paul Chambers, Gary Peacock, Ron Carter (b), Elvin Jones (d) Recorded: 1963-4

Evans, a reluctant exhibitionist, rarely set foot in a recording studio, and away from the stars of sonic delight, he released an album that perfectly reflected his own musical vision. This album, which covers all of his beloved music, including Kurt Weill, blues, Spanish music, and autograph scores, is his most ambitious work and deeply satisfying. Featuring soloists Wayne Shorter, Johnny Coles, and Phil Woods, it is a pure musical alchemy of entirely original material. The CD is a delightful expansion of the original, adding 27 minutes of great new, previously unreleased material. (KS)

66 Gil Evans: The Individualism of Gil Evans (Verve)

Jerry Milligan (b), Chet Baker (t), Bobby Whitlock (b), Chico Hamilton (d) Recorded in 1952

Milligan's first jazz recording experience was through his arrangements on Miles Davis' "Birth of the Cool" sessions at Capitol, but in 1952 he formed a piano-less quartet that caused quite a stir and made him (and trumpeter Chet Baker) jazz celebrities overnight. This album covers the early (and best) aspects of the Mulligan Quartet, including "Bernie's Tune," "Freeway," and "Walkin' Shoes" for Pacific Jazz. West Coast jazz in its prime at its most joyous and infectious. Japanese CD reissue boasting more than twice the playing time of the original. (KS)

65 Gerry Mulligan: Gerry Mulligan Quartet (Pacific Jazz)

Brad Mehldau (p), Larry Grenadier (b), Jorge Rossy (d) Recorded in 1998

The Guardian magazine, selected as the Best Jazz album in 1998, is the third part of a musical Odyssey with all five volumes from 1996 to 2000. Similar to the version of "EXIT MUSIC (for A Film)", which turned Radio Head to Beethoven, and a deeply memorable version of Nick Drake's "River Man". Meldeau's improvisation seems to be a variation in variation. On the road, they heard the same comparison of Bill Evans. (SN)

64 Brad Mehldau: Art Of The Trio Vol.3 (Warner)

Aran Sheep (TS, ARR), Alan Shorter (FLHN), Roswell Rad (TB), John Chikai (AS), Reggie Workman (B), Charles Mofet (D) Recording: 1964

Shep is "Candid" and "Impulse! He was a member of the 1960/1 section of Cecil Taylor who worked on the side cut, but his first recording was on the 1962 Savoy album "Archie Shep p-Bill Dixon Quartet", which is almost difficult to obtain. be. In Four for Trane, not only changes in loyalty to Coltrane, but also a completely original approach to the arrangement talent and his own performance when everyone was copying Trans and Rollins. There is. Later he may have become more sharp, but this was 100 % of his original release. (KS)

63 Archie Shepp: Four For Trane (Impulse!)

Count Vacy (P), Sad Jones, Joe Newman, Wendel Carlie, Snewooky Young (T), Benny Powell, Henry Koker, Al Gray (TB), Marshall Royal (AS, CL), Frankwes (AS, TS), Frank Foster, Eddie "Rock Joe" Davis (TS), Charlie Fourx (Bar S), Freddie Green (G), Eddie Jones (B), Sony Paine (D), Neil Heffti (ARR) Recording: 1957

This album is his first album that captures not only the rhythm but also the rich sound of ensembles, and is undoubtedly an explosive impact. Several charts can be heard better than other charts, but the overall atmosphere transcends the times. The tenor saxophone vocals of "KID from Red Bank" and Rock Joe's "WHIRLY-BIRD", which are impressive with leader stride pianos, symbolize the uptempo, "Splanky" and "Duet" Is for blues. And "Li'l Darlin" is strongly proven that it is not smoky = smooth (BP).

62 Count Basie: The Atomic Mr Basie (Roulette)

Miles Davis (T), Lee Conitz (AS), Jerry Maligan (B), JJ Johnson (TB), Kai Winding (TB), Junior Collins (FR HN), Gunser Schuler (FR HN) ), Sandy Sigelstein (FR HN), Billy Baber (TBA), John Baber (TBA), Nelson Boyd (B), Joe Schulman (B), Al Macchibon (B), Al Haig (P), John Lewis (P), Kenny Clark (D), Max Roach (D), Gill Evans (ARR), Johnny Calidi (ARR), Kenny Hugud (V) Recording: 1949-50 year

The greatness of Miles's career is that he captured him many times, grabbed the appropriate people, and provided him with the best creative thinking. At first he was c o-starring with Charlie Parker, but when he contracted with Capitol and played several modern jazz side numbers in a group that was increased, he could work freely, Gil Evans. John Lewis, Jerry Maligan, and John Kalidi and others brought out the talented composer and created unified works. And John Calidi has created a unified and delicate background for his new lyricism. The world has changed, Part 1. (KS)

61 Miles Davis: Birth of the Cool (Capitol)

Peter Brezman (TS, BAR S), Evan Parker, Willem Brooer (TS), Fred Van Hoven (P), Peter Coward, Buski Nibeligal (B), Han Beninin, Sewen Johansson (D) ) REC. May 1968

Is it a political statement, a summer dat considering the facts, or a primitive screaming of Yanovian? The album is a musical manifesto of a European free jazz underground, a response to people who are aspiring to be over the Atlantic, and shouting to the people in their country. In the title truck, three horns and pianist Van Hove are featured, but each is as intense as the next song. "Responsible" Despite its unsatilled howling, ends with an adorable Latin Vamp, "Music for Han Bennink raises joy. Machine guns shake the listener's heart from the core. )

60 Peter Brötzmann Octet: Machine Gun (FMP)

Hawkins (TS) and many others. Recording: 1939-56

The Hawk problem is the same as the person looking for an ideal introductory set of Genius Sydney Besh. In the case of Besh, it is still impossible. Hawk is almost possible. Many songs, including the original masterpieces of the great "Body and Soul" announced in 1939, how they have done all the changes in jazz and have grown artistic for decades. Is here. The vest of the latter Hawk is out of Vave, but the introductory edition is well organized. (KS)

59 Coleman Hawkins: Body And Soul (RCA Bluebird)

Brown (T), Harold Land (TS), Ritchie Powell (P), George Morrow (B), Max Roach (D).

Time is all. In the spring of 1956, Miles and Coltrane were still playing with Sony Rollins as dedicated tenor, along with Clifford Brown's dazzling novel trumpet. Later, Brown and pianist Ritchie Powell were in a traffic accident and broke up. DAAHAUD "," JOY SPRING "," This powerful set, which contains classical interpretation of pos t-baps, such as "Parisienne Storefare", is the starting point of BOP after Parker and is a must listen to the next trumpeter. But this CD includes two more minutes of alternative (KS.)

58 Clifford Brown/Max Roach Quintet: Clifford Brown and Max Roach (EmArcy)

Silver (P), Blue Mitchell, Carmel Jones (T), Junior Cook, Joe Henderson (TS), Gene Taylor, Teddy Smith (B), Roy Brooks, Roger Humpfreeping (D) : 1963-64

For five years, he had a perfect combination of silver, a band with a mysterious interpretation, for five years, when he was bringing Mitchell Mitchell. They all played for each other, and this group became one of the true great groups of the 1960s. In Song for My Father, this group is featured in two songs, but the famous title song is not recorded, but instead the glorious but shor t-lived Quintet. It is. You don't have to be afraid. Everything is in place for the masterpiece that keeps the magic of it. (KS)

57 Horace Silver: Song For My Father (Blue Note)

Leicester Bowie (T, FLHN, PERC), Rosco Mitchell (SS, as, Bs, CL, Clum, Whistles, Steel Drum, Perc), Joseph German (SS, AS, CL, OBA, MBA, Sichi and Malachi) Favors (B, el B, Banjo, log drum and perc). Recording: 1969

A trolley of the exhibition space that stays on the art side instead of entertainment. This was a record indicating that the acoustic riot in the groundbreaking series was incompatible with the noisy humor. Using everything from Dixyland riffs to bluesy draws, classical Intelmetsi, AEOC has created mickstapes in which rhythm, mood, and idiom change in strange and beautiful landscapes. Imagine William Barows cut music instead of text, and skilled players somehow make the fragments a consistent sound. Deep, destructive but sophisticated work should be very helpful for everyone, from Zappa to the Zone.

56 Art Ensemble of Chicago: A Jackson in Your House (BYG/Actuel)

Coltrane (TS), Freddie Havad, Dewey Johnson (T), John Chikai, Marion Brown (AS), Archi Shab, Faroa Sunders (TS), McCoy Tainer (P), Jimmy Garrison (B) ), Elvin Jones (D).

Even John Lennon replied to an interview with Yoko in the late 1960s that he had heard of Ascension. Even today, the music is esoteric, and the flame and turbulence of Transal support musicians clearly show the times, but it is a giant day that has changed jazz forever. (KS)

55 John Coltrane: Ascension (Impulse!)

Young (TS), Nut King Call (P), Baddy Rich (D) 1946

Fortunately, a young Norman Grandz gave a session in 1946. An absolute middle career with piano nut king call and drum friend Rich. This intimate date with a spotlight on Young himself shows off his soul, the invention of ambiguous melody and rhythm, the hom e-like drive and delicacy, and he is the early idol of Charlie Parker. The reason is accurately shown. (KS)

54 Lester Young: Lester Young/Buddy Rich Trio (Verve)

Sanders (TS), Leon Thomas (V, Perc), James Sport (FL), Julius Watkins (FR HN), Ronnie Liston Smith (P), Richard Davis, Reggie Workman, Ron Curter (Ron Curter ( B) Freddie Wates, William Heart (D), Nasaniel Betis (PERC) 1969 recorded

What a sleeve! This saxophonist meditation sets karma as a healing sound for bombs, bullets, and voting with the backdrop of the hazy Baht Orange Sun. Born from the Catholic consciousness of his teacher, John Coltrane, and borrowed a part of the grandness of the widow Alice's sky, Sanders is surprised at the immorative "Master Plan in the creator". It is expressed in an abstract "color". These Ceramic Cosmic Groove burned creative flames from Roy Ayers to Ronnie Liston Smith in the 1970s, and provide the most fertilized professional tool music like Millennium film orchestra. Inspired the people. (KLG)

53 Pharoah Sanders: Karma (Impulse!)

John McLaflin (G), John Therman (BS, SS), Brian Odges (B), Tony Oxlie (D). Recording in 1969. Even John Lennon replied to an interview with Yoko in the late 1960s, "of course, ascension." Even today, the music is esoteric, and the flame and turbulence of Transal support musicians clearly show the times, but it is a giant day that has changed jazz forever. (KS)

Young (TS), Nut King Call (P), Baddy Rich (D) 1946

52 John McLaughlin: Extrapolation (Marmalade)

Fortunately, a young Norman Grandz gave a session in 1946. An absolute middle career with piano nut king call and drum friend Rich. This intimate date with a spotlight on Young himself shows off his soul, the invention of ambiguous melody and rhythm, the homely drive feeling and delicacy, and he is the early idol of Charlie Parker. The reason is accurately shown. (KS)

51 John Zorn: Naked City (Elektra/Nonesuch)

John McLaflin (G), John Therman (BS, SS), Brian Odges (B), Tony Oxlie (D). Recording in 1969. Even John Lennon replied to an interview with Yoko in the late 1960s that he had heard of Ascension. Even today, the music is esoteric, and the flame and turbulence of Transal support musicians clearly show the times, but it is a giant day that has changed jazz forever. (KS)

50 Lennie Tristano: Tristano (Atlantic)

Young (TS), Nut King Call (P), Baddy Rich (D) 1946

49 Dizzy Gillespie: Shaw ’Nuff (Musicraft)

48 Sun Ra: The Heliocentric Worlds of Sun Ra Volume 1 (ESP-Disk)

John McLaflin (G), John Therman (BS, SS), Brian Odges (B), Tony Oxlie (D). Recording in 1969.

The 1960s were Mike Westbrooks, Michael Galick, Don Lende l-Ian Car Quintet, and Mike Gibbs for 10 years. However, "Paraphragm" is not only as a foothold for McLaflin's career, but also for knowing how jazz changes from the late 1960s to the early 1970s will be in the form. It is. This freedom (often "time, no change") and structures, and the growing identity in the performance of McLafrin between Therman and Oxlay, are compelling listening. (SN)

47 Sonny Rollins: The Bridge (RCA Victor)

John Zone (AS), Bill Frisel (G), Wayne Heavitz (Ky), Fred Fris (B), Joey Baron (D).

This is a great example of pos t-modern jazz. The modernist zone has taken different, sometimes different, different music practice, fragments, and landmarks, and brought it to expressionism. Thus, there is a momentary reference to jazz, blues, surf guitar, movie mood, country music, and Bill Frisel versatile guitar. Using a zapping channel like a TV Segue, a mood goes on a violent parting with another mood. The only thing in postmodernism is uncertain, and we should pay attention to this music. The uncertainty in the uncertain world forms all of us. (SN)

46 Andrew Hill: Point of Departure (Blue Note)

Tristano (P), Lee Conitz (AS), Peter India, Gene Ramie (B), Jeff Morton, Art Taylor (D) Recording: 1955

Tristano, a theorist, teacher, creative thinker, and Virtuoso pianist, had an advanced and very solid view of what to make good performance practice. Tristano hoped that his musicians would protect their opinions and accept their discipline. What he worked for others can be heard by Lee Connitz and Warn Marsh, and what he was influential can be seen from the fact that Bill Evans absorbed Tristano's method. 。 This Atlantic album includes a lively echo "Requiem" for Charlie Parker, and a mult i-layered path "lin e-up" by his controversial piano, all of whom everyone's waist. Raise and provide a moment to pay attention (KS).

45 John Coltrane: Impressions (Impulse!)

Galespy (T), Charlie Parker, Sony Stitt (AS), Dexter Gordon (TS), Cride Heart, John Lewis, Frank Paparelli (P), Milt Jackson (VB), Chuck Wayne (G) ), Ray Brown, Curly Russell, Slam Stewart (B), Sid Catlet, Kenny Clark, Cozy Call, Sherry Manne (D), Sarah Verne (V) and many others. 1945-6 recording

People who only know Gareth Pee from their success since the 1950s may not know the essential power of his trumpet play in the 1940s. This CD, which was created for small labels such as guilds and music crafts, and gathering old works under his conductor, provides integrated insight to hoodie and relaxs you with surprise. It will do it. Interestingly, Gareth Pee also wrote the immortal Bop Ansem, many of which have been unveiled here for the first time. These sessions, like Parker Savois, is a sacred plate of baps.

44 George Russell: The Jazz Workshop (RCA Victor)

Sun La (P, MBA, CEL, PERC), Chris Cayperers (T), Teddy Nance (TB), Bernard Petaway (B TB), Danny Davis (F, AS), Marshall Allen (PICC, PICC, AS, PERC), Robert Cummings (BCL, Perc), John Gilmore (TS, Perc), Pat Patrick (BS, PERC), Ronnie Boykins (B), Jim Johnson (PERC) Recording: 1965

When this album was released from ESP-DISK, Ra had been producing an album for 10 years on her label SATURN, but this album was performed in the United States (several songs at the time at the time. Not only it sounds closer to Tibetan Buddhism music than any other music that was performed, but also ESP-DISK, which was actually distributed outside of Chicago and New York, became an international topic. Ra appeared on the map of the vinyl and did not look back. Next is Jupiter. (KS)

43 Miles Davis: Sketches Of Spain (Columbia)

Rollins (TS), Jim Hall (G), Bob Cran Show (B), Ben Riley & Harry Sanders (D) 1962

Some people have become more and more attractive and complex musicians from 1959 to 1961 that they have returned from voluntary exile. Bridge is an eternal proof of that fact. He takes off all kinds of luggage, leads from the front, plays with a new balance and freshness, and keeps the unique identity of this day. Rollins in the late 1950s may be a critic, but this has become all the creative business of Rollins, whether in Avantgard, retro, or Sony. 。 Unparalleled music. (KS)

42 Stan Getz: Focus (Verve)

Hill (P), Kenny Doham (T), Eric Dolphy (F, as, BCL), Joe Henderson (TS, F), Richard Davis (B), Tony Williamus (D) 1964

Hill, of course, is a multifaceted talent, an excellent pianist, an implicationer, and one of the outstanding composers in the jazz world. This album stands out of the latter talent. As Jerry Roll Morton did in the late 1920s, he made full use of the very personal composition and the color sensation of the musical instruments, with an impressive new monument among the selected musicians. He draws out ideas and spin out some of the most eloquent performances as individuals and groups. If these musicians include the first line here, it will be a special music. Depending on the version of the CD, it is a straight version of the original board, or two alternate take. (Ks.)

41 Chick Corea: Return To Forever (ECM)

Coltrane (SS, TS), Eric Dolphy (BCL, AS), McCoy Tan (P), Reggie Workman, Art Davis, Jimmy Garrison (B), Elvin Jones (D) Recording: 1961, 1963 year

This is the second scoop in Aladdin's cave in Village Vanguard in November 1961. The first work released in Village Vanguard in 1962 was hit by critic's acclaimed storm and made new generations of the music to come through Bruce Chasin Trans. And "IMPRESSIONS" is a 1 4-minute monito r-like inspiration by Trans and Elvin. The 1963 studio filler, "Up Against The Wall" and "After the Rain" are two excellent musical breakings. (KS)

40 Billie Holiday: At JATP (Clef/Verve)

George Russell (COMP, ARR, Boombames), artists (T), Hull McCurv (AS, F), Barry Garblais (G), Bill Evans (P), Milt Hinton, Teddy Cotick (B) ), Joe Harris, Paul Motian, Ozzy Johnson (D) Recording: 1956

One of the most important albums in jazz history. With only six players, Russell has realized a wonderful instrument texture in these 12 songs thanks to the guitarist Galbrace, and introduced the Modal Jazz (and Bill Evans) to the process. The strange new harmony, polyhythm, almighty, expanded composition-Russell and Gil Evans have made jazz a completely new zone. Many musicians still listen to the album, which has directly influenced the jazz world, such as Miles, Coltrane, and Oliver Nelson, rather than sales. It is a masterpiece of a small group performance and a master class that plays the role of composition in music. (DH)

39 Tony Williams Lifetime: Emergency! (Polydor)

Davis (T, FLHN), orchestra, Gil Evans (COND, ARR) Recording: 1960

Miles, when Gil Evans was generally assembled this wonderful reconsideration of classical songs related to Spain, two large, "Miles" and "Pogie and Beth" in Columbia. He left a masterpiece of the formation. The center is the center movement of Rodrigo's "Concerto of Alanfes", but the intense lyricism and heated colors are painted on other songs by Miles and Gill, which is rare in Evan. The song is also included. They again, for them and for anyone else, broke the type. (KS)

38 Cannonball Adderley: Somethin’ Else (Blue Note)

Getz (TS), Roy Haines (D), Chamber Code Group, Hershea Kay (COND).

In the history of jazz soloist + strings recording, there is no way to listen to what this album brings without any preparation. Getz asked his favorite arrangement / composer Eddie Souter. The soul has completed the suite that is made as music, no matter what the Getz is, but the room for creating the most gorgeous tapestry of sound and emotions in the lean and expressive score of the satur. Was left enough. The song is isolated even in the jazz tradition, but it is an incredible masterpiece in this genre, and other musicians continue to quote in awe. (KS)

37 Charles Mingus: The Black Saint And The Sinner Lady (Impulse!)

Korea (El P), Joe Farrell (F, SS), Stanley Clark (El B), I art Moraila (D, PERC), Flora Prim (V).

By the time of this day, Korea was in a spectacular plains of his own Latin music illusion after a heavy avan t-garde stage. However, now that the flora prim and Ailt's unbridled and uplifting sense are fused with his own natural exaltation and melodic exhilaration, Korea suddenly, suddenly, other fougenist's stental and gloomy. Not only did he move forward over Machizumo, but he accurately r e-right e-righteous appearance. The drunk music played by Masters makes this era a breakthrough. (KS)

36 Ella Fitzgerald: Sings The Cole Porter Songbook (Verve)

Holiday (V), Howard McGee, Back Clayton (T), Trummy Young (TB), Willie Smith (AS), Illinois Jake, Wedel Gray, Coleman Hawkins, Leicester Young (TS), Milt ・ Ruskin, Ken Cursey, Tommy Tucker (R), Charles Mingas, Al Macchibon (B), J. C. Hard, Jackie Mills (D) Recording: 1945-47

People call Billie Holiday the voice of jazz. But her record discography is complicated; on the 78s of the 1930s she was more singer than star, she didn't appear in arrangements until the 1960s, and she didn't appear on CD until the 1990s. By the time she moved to Verve in 1952, her voice had darkened and lost its versatility, on two Decca 1940s albums. But this set of live performances from the mid-1940s finds her in good musical condition, at the peak of her vocal talent, expressively sweeping through a number of classics, including "Strange Fruit" and "Billie's Blues." The CD format contains more than double the amount of material originally available on vinyl, but the sound quality of some of the "new songs" is less than stellar. (KS)

35 Duke Ellington: Ellington At Newport (Columbia)

Tony Williams (D), Larry Young (Org), John McLaughlin (G) Recorded in 1969.

This bold attempt to push the boundaries of jazz and dramatically fuse jazz, blues, rock, Hendrix and MC5 left mild-mannered listeners and critics speechless. Today, the mere mention of jazz rock is enough to make the "leftover" critics scream. This is jazz, rhythm and electricity. No wonder this album is called an emergency. Each member has so much to say, and so little time to say it. (SN)

34 Woody Herman: The Thundering Herds (Columbia)

Adderley (AS), Miles Davis (T), Hank Jones (P), Sam Jones (B), Art Blakey (D).

Adderley was promoting the soul jazz era when he made this for Blue Note. In a way, it's a veil that was spun between the alto player and Miles Davis during their time together in the Miles Davis Sextet, and it perfectly captures the delicate balance Miles struck between the obsessive expression he borrowed from Ahmad Jamal and the beautiful simplicity and physical obliteration of Cannon's modernist style. Miles lets the alien shine here and there on ballads and bend-blows, while the others keep their distance and complement each other with their own subtle styles. The Blue Note RVG pressing includes additional tracks from this session. (KS)

33 Jan Garbarek: Afric Pepperbird (ECM)

Rolf Ericson, Richard Williams (T), Quentin Jackson (TB), Don Butterfield (TBA), Jerome Richardson (FL, SS, Bar S), Dick Hafer (FL, TS), Charlie Mariano (AS), Jaki Baird), Jay Berliner (G), Charles Mingus (B, P), Danny Richmond (D).

Listening to Mingas may need to know the taste of Mingas, but those who have musical backgrounds other than Mingas are captivated by listening. Whether you are from Ellington, Coltrane, or Blues, this suggestions will attract you. Even a techno fan will notice that the processing, recycling, and excess are used in a timely manner. What is even more creative is the work of soloists such as Jackson, Viand, and Makero (later ECM and ECM), and the part of the no n-accompaniment flamenco guitar that Mingas himself seemed to have written one sound. BP).

32 Jimmy Smith: A New Sound, A New Star (Blue Note)

Fitz Gerald (V) and Buddy Bregman orchestra. Recording: 1956

Norman Grandz had a strong ambition to record Ella on his label, but had to wait for the contract until 1956. His first project recorded the songs of Call Porter as much as possible in a magnificent style (initially as Volume 1 and Volume 2), and will be released to the unprotected but quickly hooked masses. That was. The idea gained a reputation, and Ella continued to work as a songwriter until the 1960s. It can be said that Sinatra avoiding anthology has created the greatest personal heritage. (KS)

31 Pat Metheny: Bright Size Life (ECM)

Ellington (P), Willie Cook, Ray Nance, Clark Terry, Cat Anderson (T), Brit Woodman, Quentin Jackson, John Sunders (TB), Johnny Hodge, Russell Procorp (AS), Jimmy Hamilton (CL, TS), Paul Gonzalves (TS), Harry Carney (B), Jimmy Wood (B), Sam Woodyard (D) Recording: 1956

Ellington has often acknowledged that the 1956 Newport Jazz Festival has brought a virtual Renaissance in terms of personally and career, but there is no doubt. Aside from the fact that the venue after the end of Dimini End and Crescendo in Blue is near, it is a good record for salon audience who wants to know what this excitement was. The fact that 60 % of the original (including almost all of the festival's suite) was recorded in the studio the next day due to microphone troubles on stage was confirmed for the first time in decades. There were only three originals, which was the original CD configuration. The tw o-disc CDs released later have improved the sound significantly, including all the performances of the festival and the studio extra. (KS)

30 Stan Getz/Joao Gilberto: Getz/Gilberto (Verve)

Herman (cl, as, v) Sonny Berman, Pete Candoli, Conte Candoli, Shorty Rogers, Conrad Gozzo, Ernie Royal (t), Bill Harris (tb), Sam Marowitz, John LaPorta, Flip Phillips, Pete Mondello, Herbie Steward, Stan Getz, Zoot Sims, Serge Chaloff (reed), Margie Hyams, Red Norvo (vb), Ralph Burns, Jimmy Rawls (p), Billy Bauer, Chuck Wayne (g), Chubby Jackson (b), Dave Taff, Don Lamond (d) Recorded: 1945-47 Herman's bands from 1945 to 1947 (who became known as the First Herds and the Second Herds) were the first of the 1940s bands to be released in 1950. They were a punk big band from the 1960s, full of adrenaline, testing all limits and playing impressive music. Whatever the genre, they embraced the elegance of Ellington, infused it with the enthusiasm of Gillespie's big band soloists, and backed it up with the crazy rhythm section of bassist Chubby Jackson and drummer Dave Taff. First recorded in the 1960s and reissued many times on LP and CD since, this set preserves the best of a truly great band and its leader. (KS)

Jan Garbarek (ts, fl), Terje Rippdal (g), Arild Andersen (b), Jon Christensen (d) Recorded in 1970

29 Herbie Hancock: Maiden Voyage (Blue Note)

From the opening track "Scarabee", the jazz world outside of Scandinavia was introduced to the Nordic jazz sensibility, the Nordic tone. Tension, meaning and space are essential to understanding perhaps the most misunderstood approach to jazz improvisation. Garbarek, with the intensity of Albert Ayler and the economy of Dexter Gordon, reworked them with hints of Scandinavian folklore to create, in the words of producer Manfred Eicher, "an alternative to the American approach to jazz." (SN)

Smith (org), Tonel Schwartz (g), Bay Perry, Donald Bailey (d).

28 Art Blakey: Moanin’ (Blue Note)

Jimmy Smith invented the instrument of modern jazz, and this album (actually the first of two volumes released quickly from the same session in February 1956) heralded its arrival. Blue Note was looking for commercial success from the start, and while it wasn't Jimmy Smith's first Blue Note single (it was on volume two, not volume one), his version of "The Champ" was a big hit. By then, the first album had delivered a blues-plus-bebop blueprint for the jazz instrumental trio that Smith would subsequently refine, sometimes revise, and develop, but whose content and quality would remain remarkably consistent throughout the next decade. (KS)

Pat Metheny (G), Jaco Pastorius (B), Bob Moses (D) Recorded in 1975 While teaching at Berklee College of Music, and as a member of Gary Burton's Daytime Group, this incredible trio marked the beginning of Metheny's talent as a recording artist. At this stage in his career (he was 21), Metheny was having fun with Pastorius, who flipped around onstage and backed speaker cabinets. This blend of Pastorius's intensity and Metheny's, tempered by Bob Moses' impeccable taste, gives the album a freshness that makes it seem as if it was recorded yesterday. (SN)

27 Cecil Taylor: At The Café Montmartre (Debut)

Getz (TS), Joao Gilberto (V, G), Antonio Carlos Jobim (P), Tommy Williams (B), Milton Banana (Perc), Astrud Gilberto (V) Recorded: 1963

Interestingly enough, this session in the spring of 1963 was almost Getz's last serious attempt at bossa nova. He had already had great success with Jazz Samba and Jazz Samba Encore, but when this album was released, everyone noticed it right away. This is perhaps the coolest and most definitive marriage of melody and Latin rhythm ever achieved, achieved by Tom Jobim's melody and backup piano accompaniment, Gilberto's unique voice and guitar, and the towering genius of Gilberto's breathing life and color, all by the supreme melodist, Stan Getz. Add to this the fact that Joao Astrud's wife stole the baton at the last minute, and you have a classic. (KS)

26 Bud Powell: The Genius of Bud Powell (Clef/Verve)

Freddie Hubbard (T), George Coleman (TS), Herbie Hancock (P), Ron Carter (B), Tony Williams (D) Recorded in 1965

A jazz classic from an era when albums like this seemed to come out every other day. The Miles Davis Quintet of the time, Hubbard Pinch, made hits for Davis (and played them better than at any other point in his career), and this album features two Hancock originals that quickly gained jazz standard status. The 34-bar binary dancing dolphin and the modal 32-bar "Maiden Voyage" maintain a set rhythmic structure throughout and would be played just like jazz itself. Add to that "Little One," previously recorded by Davis for ESP, and you have the concept album to end all concept albums.

25 Modern Jazz Quartet: Fontessa (Atlantic)

Blakey (D), Lee Morgan (T), Benny Golson (TS), Bobby Timmons (P), Jimmy Merritt (B). Recorded in 1958.

Blakey c o-sponsored Hores Sylver and the first jazz Messenjas in 1956, at the forefront of Hard Bop to a jazz soul. By 1958, he passed a series of band editions, and the album became a Blueprint Edition in the second century. Benny Golson and Bobby Timmons provide har d-ba p-men like the title song "They Came Betty" and "Blues March" and sophisticated the long songs in the late 1950s. The short and bitter hard BOP routes based on the soul from the Seoul, the elaborate pos t-bop route was added, and this blare key band, and this blare key album decided to Jazz. (KS)

24 Wes Montgomery: The Incredible Jazz Guitar of Wes Montgomery (Riverside)

Taylor (P), Jimmy Lions (AS), Sunny Malay (D) 1962

Since the mi d-1950s, Taylor has been a spine of the modern American jazz world with its compromise approach, but the jazz rhythm of jazz rhythm until this live was recorded on Copenhagen by Denmark's debut label. He did not take a decisive step in free play that would revolution. Here, Taylor, Lions, and Malay compete for Music Music Music, and opened the Pandora box that could be eager to explore any jazz pioneers around the world for the next 20 years. Ta. In addition, the Taylor's ultr a-compressed performance on that day was the first scale that recorded the ability to maintain its heat over the performance time like Coltrane. (Ks.)

23 Frank Sinatra: Songs For Swingin’ Lovers (Capitol)

Powell (P), Ray Brown (B), Buddy Rich (D).

REC. 1950-51 In this 1950 work, two transcendental trio songs, "Tea for Two" and "Hallelujah", are playing at a fierce speed. Due to the CD space, two takes of "Tea for Two" are added, and you can learn how Powell developed materials and maintained tremendous improvised creativity. However, the true value of this album is eight solo selections recorded in February 1951. Powell's creative level is comparable to any work of the recorded jazz and piano yearbook, which is indispensable in listening to jazz. (KS)

22 Jelly Roll Morton: Volume 1 (JSP)

John Lewis (P), Milt Jackson (VB), Percy Heath (B), Connie Kay (D).

But in 1956, they were doing something surprisingly new to jazz in almost every musical area: content, arrangement, interaction, and theory. They also had a secret weapon: all four musicians were full-on blues and ready to step up when they needed to. Fontessa was Atlantic's first visit to Japan with a full set that included Connie Kaye. It was a perfect blueprint for the many advances of the MJQ over the next decade. (KS)

21 Ahmad Jamal: But Not For Me - At The Pershing (Argo)

Wes Montgomery (G), Tommy Flanagan (P), Percy Heath (B), Albert Heath (D) Recorded: 1960

Wes Montgomery's playing was unlike anyone else's. He picks the strings with his thumb instead of a plectrum, producing a fresh, warm sound. It's sensitive on ballads, but intense on fast settings. His solos go through three stages, starting with an improvisational line, moving the instrument in an octave passage, and climaxing with a line that references block chords. The results are stunning, and like Charlie Christian twenty years earlier, his innovations have opened up new possibilities for the guitar, inspiring a new generation of guitarists, including George Benson, Pat Martino, and Larry Coryell. He once surprised Wes by playing "D Natural Blues" on Wes' own solo. Every song on this album is a classic, and the songs "West Coast Blues" and "Four on Six" are part of the jazz canon. (CA)

20 Weather Report: Heavy Weather (Columbia)

Frank Sinatra (V), Nelson Riddle (ARR, COND), Big Band Recorded: 1955-56

Sinatra, the Jazz Singer; Sinatra's recordings include a huge amount of material that is hardly jazz, but he looked up to Tommy Dorsey and Billie Holiday as his musical mentors, and once he got it into his head, he could rub shoulders with the best jazz singers. Moreover -- and importantly -- he influenced almost every jazz singer and musician worth his name from the 1940s to today, including Lester Young, Miles Davis, and John Coltrane. These great sessions in the mid-50s perfected Frankie's jazz credibility and challenged everyone else. (KS)

19 Ornette Coleman: Free Jazz (Atlantic)

Morton (P, COMP, ARR), George Mitchell (C), Edward Kid Ori (TB), Omar Simeon, Bernie Bigard, Darner Howard, Johnny Dods (CL), Stamp Evans (AS) , Johnny St. Sir (BJ), John Lindsay (B), Andrew Hiller, Baby Dods (D), others. Recording: 1926-28

Like Sydney Beshe, finding a collection that covers all Morton songs is a difficult task. This is not enough yet, but he does it more than anyone else, and his expertise in this field is the legendary remastering from the original 78 by John R. T. Davis I'm doing it at that. Morton's miraculous flowering at this time is incredibly multifaceted, imaginable, and incredibly creative without listening to the arrangement of himself and other songs. But he did it first. (KS)

18 Dave Brubeck: Time Out (Columbia)

Jamal (P), Israel Crosby (B), Vernel Frenier (D) Recording: 1958

When the piano, guitar and bass trio existed in the early 1950s, Jamar's ideas on the integrated disciplined interactions of the three had already had a deep effect on jazz musicians' narrow circles. However, when the phenomenal unit created the bestseller of this jazz in 1958 and released, the situation became a supernovated star. Nobody was moved by the light but strict approach, attractive and imaginable arrangement, surprising commitment to dynamics. Highlights may be "POINCIANA", but every song will tell you how to bring out the best from the songs. The fact that this music is not at the speed of lightning sparks tells the appeal of the new generation of pianists and the charm of this music that is still continuing today. (KS)

17 Herbie Hancock: Head Hunters (Columbia)

Joe Zavinul (KY), Wayne Shorter (TS, SS), Jaco Pastorius (B), Alex Aqunia (D), Manolo Badrina (Perc) Recording: 1976

Listening to the best album of Weather Report reminds me that this band was one of the most essential trains in the jazz world. Simple saxophone, piano, bass, drum, percussion. Then, listen to "Birdland", which was later covered by Manhattan Transfer and Maynard Ferguson. In particular, I want you to listen to the boost that Pastoras is giving the band with his own "Havona" and "Teen Town". Heavy Weather, which ranked 30th on the Billboard Album Chart, is still impressive today as the overall effects of its production. (SN)

16 Albert Ayler Trio: Spiritual Unity (ESP-Disk)

Ornette Coleman (AS), Freddie Havad, Don Cherry (T), Eric Dolphy (BCL), Scott Rafaro, Charlie Hayden (B), Ed Blackwell, Billy Higgins (D) 1960 Annual recording

This song turned everyone around. Ornettes have arranged musicians in parallel in two quartets, not only pulling out their solo, but also some gentle themes and group performances to conclude the whole performance. The overall wonderfulness of this album is that while this album has an idea for decades for decades, music captures the hearts of the listener as before. Don't let go. Some CDs of this album include a 1 7-minute listening version of "FREE JAZZ" called "First Take" as a bonus. (KS)

15 Mahavishnu Orchestra: Inner Mounting Flame (Columbia)

Bluebeck (P), Paul Desmond (AS), Eugene Light (B), Joe Morero (D) Recording: 1959

Bluebeck is rarely evaluated. His excellent qualities are very special. First of all, he knew how to bring out the best from Paul Desmond. Second, he is a special songwriter with melody talent. As this wonderful album shows, even if the decisive song, "takefive", was a Desmond composition. It is also important that Bluebeck was working on collective creation within the group, which is also rare in 1959 jazz. As a whole, the unusual beat symbol, which is a characteristic of this album, tends to weaken music while music is attractive. (KS)

14 Duke Ellington: The Blanton-Webster Band (RCA Bluebird)

Harvy Hancock (Ky), Benny Morpin (Sax, FL, B CL), Paul Jackson (B), Harvey Mason (D), Bill Summers (PERC) 1973

It may have been jazz rock after Bitches Brew, but after Head Hunters, jazz funk was his taste. Inspired by Sly & The Family Stone's "Thank You (FalettinMe Be Mice Elf Agin)", there is even a tribute track called "Sly". This release, which symbolizes a magnificent transformation to an album that aims at the dance floor directly, has succeeded in the difficult direction of CROSSINGS and SEXTANT. The single "Chameleon" released from the album was one of the largest jazz albums in history, ranking 13th on the Billboard Chart. (SN)

13 Louis Armstrong: Complete Hot Fives and Sevens (Columbia)

Eyler (TS), Gary Peacock (B), Sunny Malay (D) 1964 recorded

Ayler had made some revolutionary records in Europe two years earlier, but it was the first Espudis that was groundbreaking in that it reached everything and changed everything. The wild nature of Ayler's sound, performance and ideas (hysterical playing beyond the normal range of the saxophone and a combination of body and sonic arms that slowly emerge from its depths) were unprecedented, as were the frenetic free rhythm accompaniments of Peacock and Murray. It was only later that his musical form was understood and appreciated. Upon its release, the record transformed the perception of cutting edge jazz overnight and spawned a generation of imitators. But Albert did it first, and he did it better. (KS)

12 Eric Dolphy: Out to Lunch (Blue Note)

John McLaughlin (G), Jerry Goodman (VLN), Jan Hammer (Key), Rick Laird (B), Billy Cobham (D Recorded: 1972

The Original Mahavishnu Orchestra, formed in 1971, is John McLaughlin's greatest achievement as a guitarist. It was a 2-year run that lifted the night sky, all played at 500 mph, and 11 Here comes Marshall Stack, the man who made the book. He awed the audience, then suddenly he's gone. McLaughlin redefined the role of the guitar in jazz, Cobham on drums, and the band set a new standard in ensemble cohesion. They did it without sounding like a grief. They also sold albums with pop numbers and played arena rock stadiums. They didn't even realize how great they were until it was over. (SN)

11 John Coltrane: Giant Steps (Atlantic)

Ellington (P), Wallace Jones, Cootie Williams, Ray Nance (T), Rex Stewart (CT), Joe Nanton, Lawrence Brown (TB), Juan Tizol (V TB), Barney Bigard (CL), Johnny Hodges, Otto Hardwick (AS), Ben Webster (TS), Harry Carney (BS, BCL), Fred Guy (G), Billy Strayhorn (P), Jimmy Blanton (B), Sonny Greer (D), Evie Anderson, Herb Jeffries (V) and others. Recorded: 1940-1942

This CD 3-piece package was released for the first time in the mi d-1980s and introduced Ellington's most multiple and innovative music. In the three years covered with this set, Ellington and his musical Doppelganger Billy Stray Horn turned jazz composition and arrangement over, and often used the simplest ideas and materials unique to geniuses. A very sophisticated idea was presented in a dress that could be immediately accepted by their own fan corps. The help of stars, such as Hodge, Williams, Bigard, Webster, and Branton, only increased the brilliance of music, and it continues to be an uncertain treasure. The 2003 RCA Reissu's slim line 3-disc CD entitled Never Nor Rament: The Branton Webster Band is a version to be obtained because it benefits the latest remastering and research. be. (KS)

10 Keith Jarrett: The Köln Concert (ECM)

Armstrong (CT, V), Ono Datley, Edward Kid Oly, J. C. C. C. C. J. C. J. C. Jack Tea Garden (TB), Johnny Dods, Don Redman, Jimmy Noon (CL), Bernie Bigard, Happy ・ Coldwell (TS), Ronnie Johnson (G), Johnny St. Sir (BJ), Lill Hardin, Earl Heines (P), Baby Dods, Zutti Singlton (D) and others. Recording: 1925-1930

If Jerry Roll Morton has reached the height of New Orleans Polyphony through the recording of Red Hot Peppers at the same time, the armstrong hot quintet reaches the future of music and is amazing at armstrong. For the first time, the improvised genius has made it possible to make ridiculous flowers for the first time. This music is full of vitality, and each armstrong solo is not manic, is always sure, and is full of urgency that is always surprising in its concept. It looks like. The fou r-piece CD of this wonderful package released in 2000 is the best work that embodies this music on a disc. (Ks.)

9 Miles Davis: Bitches Brew (Columbia)

Dolphy (F, AS, BCL), Freddie Havad (T), Bobby Hatcherson (VB), Richard Davis (B), Tony Williams (D).

Interestingly, "LUNCH" has symbolic press and evolved fame, but the actual dolphy record "CONVERSATIONS" was made on a small FM label in the summer of 1963, and "Alone Together". Includes a 1 4-minute revolutionary dolphy and Richard duet. In fact, "LUNCH" represents another aspect of Dolphy's genius talent, indicating Dolphy as a musician leader who is willing to involve the entire team in the improvisation process at all levels and any timing. 。 Of course, Dolphy is still the most skilled player in the group (he composed all songs), and imitating the drunk in "Strait U p-Down" except for Dolphy itself. I do not forgive. What will he do next? (KS)

8 Charlie Parker: Bird: The Complete Original Master Takes. The Savoy Recordings (Savoy Jazz)

Coltrane (TS), Tommy Franagan, Cedar Walton, Winton Kelly (P), Paul Chembers (B), Rex Hanfreies, Art Taylor, Jimmy Cobb (D) Recording: 1959

It is quite difficult for one album to exaggerate the effect of the title song in the narrower, which has been on the development of jazz since its release. Certainly, the members blowing jazz community saxophone around the world feel inspired by this album and as a refreshing font. Recently, pianists have recreated Coltrane's elegant and modest composition. He should have known that this album is a culmination, not a new starting point, but he is probably the same as the other reasons that Coltrane was the thorough player. It seems to represent the extraordinary art of art. Some CD boards include eight bonus trucks. (KS)

7 Charles Mingus: Mingus Ah Um (Columbia)

Keith Jarrett (R) 1975

Jarrett appeared in the international jazz scene as a pioneer of Charles Lloyd Cartet in the late 1960s, and later led his own trio, and in the early 1970s for a short period of time in Miles Davis's Budu Electronic Soup. I participated. For this reason, his recognition in the early 1970s temporarily decreased, but his creativity continued to diversify and deepen. He gained experience in solo recitals ("Facing You" released from the ECM in 1970 was a strong precursor), a series of concerts for Manfrate Icher's record label We started recitals and gathered public interest and public interest, but no one could predict what would happen. Cologne's concert where he appeared. This album, which has been repeated at turntable around the world like hypnosis, has been repeatedly r e-rhythmic performances, and this album has become an enthusiastic best seller in word of mouth, and the community of listening to jazz is quick. He escaped, and spread to the living room of people who had never owned other jazz albums. Jarrett and this album itself is one of the most sold albums in this genre, as well as jazz albums. (KS)

Miles Davis (T), Wayne Shorter (SS), Benny Morpin (BCL), Joe Zavinul, Chick Korea (EL P), John McLaflin (G), Dave Holland (B), Harvey Brooks (El B), Lenny White, Jack Dejonet (D), Don Alias (PERC), και Jum Santos (Shaker) 1969 Records Jarrett is a pioneer in Charles Lloyd in the late 1960s. ・ As a member of the quartet, he appeared in an international jazz scene, later led his own trio, and in the early 1970s he participated in Miles Davis's Voodue Electronic Soup for a short period of time. For this reason, his recognition in the early 1970s temporarily decreased, but his creativity continued to diversify and deepen. He gained experience in solo recitals ("Facing You" released from the ECM in 1970 was a strong precursor), a series of concerts for Manfrate Icher's record label We started recitals and gathered public interest and public interest, but no one could predict what would happen. Cologne's concert where he appeared. This album, which has been repeated at turntable around the world like hypnosis, has been repeatedly r e-rhythmic performances, and this album has become an enthusiastic best seller in word of mouth, and the community of listening to jazz is quick. He escaped, and spread to the living room of people who had never owned other jazz albums. Jarrett and this album itself is one of the most sold albums in this genre, as well as jazz albums. (KS)

6 Thelonious Monk: Brilliant Corners (Riverside)

Miles Davis (T), Wayne Shorter (SS), Benny Morpin (BCL), Joe Zavinul, Chick Korea (EL P), John McLaflin (G), Dave Holland (B), Harvey Brooks (El B), Lenny White, Jack Dejonet (D), Don Alias (PERC), και Jum Santos (Shaker) 1969 Recorded Jarrett is a pioneer in Charles Lloyd Cartet in the late 1960s. He appeared in an international jazz scene as a member, later led his own trio, and in the early 1970s he participated in a short time in Miles Davis's Voodue Electronic Soup. For this reason, his recognition in the early 1970s temporarily decreased, but his creativity continued to diversify and deepen. He gained experience in solo recitals ("Facing You" released from the ECM in 1970 was a strong precursor), a series of concerts for Manfrate Icher's record label We started recitals and gathered public interest and public interest, but no one could predict what would happen. Cologne's concert where he appeared. This album, which has been repeated at turntable around the world like hypnosis, has been repeatedly r e-rhythmic performances, and this album has become an enthusiastic best seller in word of mouth, and the community of listening to jazz is quick. He escaped, and spread to the living room of people who had never owned other jazz albums. Jarrett and this album itself is one of the most sold albums in this genre, as well as jazz albums. (KS)

Miles Davis (T), Wayne Shorter (SS), Benny Morpin (BCL), Joe Zavinul, Chick Korea (EL P), John McLaflin (G), Dave Holland (B), Harvey Brooks (El B), Lenny White, Jack Dejonette (D), Don Alias (Perc), και Jum Santos (Shaker) 1969

5 Sonny Rollins: Saxophone Colossus (Prestige)

From the Cuban Missile Crisis to the rise of the counterinsurgency movement, the May 1968 student riots in Paris, the rise of anti-Vietnam protests in the US, the arrival of the pill in the US, and the rise of rock music, no matter how you look at the 1960s, established values were openly challenged, subverted, and generally shaken. So, it is arguable that Bitches Brew was the album that shook the music world in a decade of changing leitmotifs. A fusion of jazz and rock? Yes, there were albums like that before Bitches Brew, but Miles Davis' place in the jazz world was confirmed by the union of two seemingly opposing allies. In Bitches Brew, the message of jazz and rock was conveyed by the prop of writing on a slate. From the title track, where Davis, Shorter and Maupin emerge from the matrix of the mix and are engulfed in a swirling electric concoction, to "Miles running the voodoo down," where the trumpeter steps on Hendrix's heels, the sound of jazz was constantly changing. (SN)

Parker (AS, TS), Miles Davis (T), Dizzy Gillespie, Argonne Thornton, Clyde Hart, Bud Powell, John Lewis, Duke Jordan (P), Tiny Grimes (G, V), Curly Russell, Tommy Potter (b), Harold West και Max Roach (D) συν άλλους. Recorded: 1945-48

4 Bill Evans Trio: Sunday At The Village Vanguard (Riverside)

Of course, Parker made his most innovative music before the invention of the LP, so this collection of his glorious music from the 1940s onwards is a collection of the last days of the original 78 rpm single. Early efforts on vinyl to collect his best material, especially on the original Savoy label, were haphazard at best. It wasn't until the 1960s and '70s that things started to take on some order and proper chronological reissues came to market. These days, you can buy the Complete Parker Savoy or Complete Cole in gorgeous multi-CD sets, but you get all the allocations, alternatives, and other tracks, making it a trial for all but the most dedicated Parker fanatics. For those wanting to experience the thrill of getting to know and discover the genius that was Parker for the first time, this 2-CD set from the 1980s is the perfect entry point. Parker-approved performances, Savoy-only performances, and some excellent remixes on not five or six but just two CDs. Parker's sparse music is assisted by some of his best and most sympathetic peers of the time. (KS)

Mingus (B), Jimmy Nepper / Willie Dennis (TB), John Handy (AS, TS), Shajaf Haddy (AS), Booker Irvin (TS), Hores Palan (P), Danny Richmond (P) D). Recording in 1959.

3 Ornette Coleman: The Shape of Jazz To Come (Atlantic)

Like the sixth place Monk, this masterpiece also symbolized the leap of his career. The album was recorded shortly after the roots of blues and roots, but atlantic intentionally pending this contract for more than a year, as the bassist signed the first contract with Colombia. AH UM was released in the same year that he first appeared at the Newport Festival every night and started recording with Eric Dolphy.

However, the album is a studio venture that specializes in Mingas's active Quintet. For example, "Fables of Favus" where Irvin participated and the opening of the gospel "Better It it in Your Soul" are also urgent. The same applies to "Bird Calls" and "Goodbye Pork Hat", and this handyman dedicated a tribute to Parker and Leicester Young, but the critical reaction to the clearly recorded Richmond. I haven't ignored it. His new producer, Theo Masero, has increased the melody than Blues and Roots, making it easier to use. (BP)

2 John Coltrane: A Love Supreme (Impulse!)

Monk (P, Celeste), Ernie Henry (AS), Sony Rollins (TS), Oscar Pettyford / Paul Chembers (B), Max Roach (D), Clark Terry (T Record: 1956) Mingus (B), Jimmy Nepper / Willie Dennis (TB), John Handy (AS, TS), Shajaf Haddy (AS), Bucker Irvin (TS), Hores Palan (P), Danny ・ Richmond (D).

However, the album is a studio venture that specializes in Mingas's active Quintet. For example, "Fables of Favus" where Irvin participated and the opening of the gospel "Better It it in Your Soul" are also urgent. The same applies to "Bird Calls" and "Goodbye Pork Hat", and this handyman dedicated a diagonal tribute to Parker and Leicester Young, but the critical reaction to the clearly recorded Richmond. I haven't ignored it. His new producer, Theo Masero, has increased the melody than Blues and Roots, making it easier to use. (BP)

1 Miles Davis: Kind of Blue (Columbia)

Monk (P, Celeste), Ernie Henry (AS), Sony Rollins (TS), Oscar Pettyford / Paul Chembers (B), Max Roach (D), Clark Terry (T Record: 1956) Mingus (B), Jimmy Nepper / Willie Dennis (TB), John Handy (AS, TS), Shajaf Haddy (AS), Booker Irvin (TS), Hores Palan (P), Danny Richmond (P) D) Recording in 1959.

Monk (P, Celeste), Ernie Henry (AS), Sony Rollins (TS), Oscar Pettyford / Paul Chembers (B), Max Roach (D), Clark Terry (T Record: 1956)

It will be 50 years next month, but it is difficult to imagine that time. For the first time as a Monk's new album, he was cautiously welcomed by the press, but his praise was completely legitimate. Unlike the first two versions of Ellington's standard and other jazz standards, "Riverside", this album is almost only a monk song, and three out of four songs have never been a new al l-star. It was a cast. Currently, Rollins and Roach, who are hitting a new roach quintet formed by Clifford Brown, have worked for monks before, but here are both seriously challenging his material. I was doing it. Rewarded, not wel l-known, was a pianist's regular quartet and a pos t-par k-comparable post park. In the subsequent sessions, Buburi Clark Terry and Paul Chambers were one of the same battles, like unacceptable piano trucks. It was a release of Monk, who started a historic team with Coltrane.

Rollins (TS), Tommy Franagan (P), Doug Watkins (B), Max Roach (D) 1956 It will be 50 years next month, but it is difficult to imagine that time. For the first time as a Monk's new album, he was cautiously welcomed by the press, but his praise was completely legitimate. Unlike the first two versions of Ellington's standard and other jazz standards, "Riverside", this album is almost only a monk song, and three out of four songs have never been a new al l-star. It was a cast. Currently, Rollins and Roach, who are hitting a new roach quintet formed by Clifford Brown, have worked for monks before, but here are both seriously challenging his material. I was doing it. Rewarded, not wel l-known, was a pianist's regular quartet and a pos t-par k-comparable post park. In the subsequent sessions, Buburi Clark Terry and Paul Chambers were one of the same battles, like unacceptable piano trucks. It was a release of Monk, who started a historic team with Coltrane.

Rollins (TS), Tommy Franagan (P), Doug Watkins (B), Max Roach (D) 1956 It is 50 years in the next month, but it is difficult to imagine that time. For the first time as a Monk's new album, he was cautiously welcomed by the press, but his praise was completely legitimate. Unlike the first two versions of Ellington's standard and other jazz standards, "Riverside", this album is almost only a monk song, and three out of four songs have never been a new al l-star. It was a cast. Currently, Rollins and Roach, who are hitting a new roach quintet formed by Clifford Brown, have worked for monks before, but here are both seriously challenging his material. I was doing it. Rewarded, not wel l-known, was a pianist's regular quartet and a pos t-par k-comparable post park. In the subsequent sessions, Buburi Clark Terry and Paul Chambers were one of the same battles, like unacceptable piano trucks. It was a release of Monk, who started a historic team with Coltrane.

Rollins (TS), Tommy Franagan (P), Doug Watkins (B), Max Roach (D) 1956

Was Sony Rollins ready in 1956? He was ready! In addition to this masterpiece, the album "Fron t-on Plus 4" featured brown / cockroach quintet at the time, the title song "Tener Madness", which hit Coltrane from the front, and "The Exk Ijit Plays" ・ Four Bird ”is also included. However, the saxophone Colosso is more out of any of them. It is not only because it focuses on quartet arrangements that can be known to be the most exciting process of Sony's creative processes, but also to use and inspire unusual repertoires. This is because it is one of the happy coincidence that all elements, such as the original songs obtained, are arranged in the same way. Rollins himself was inspired by songs such as "St. Thomas" and "Moritat" in "Sanbun Opera", and it is clear that he played in a concert 50 years later. Nevertheless, what we want to call these initial recording as decisive ones is the essence of an approach to Roll's improvisation, which brings out as much nuance and variations as possible from the theme and the related melody and rhythm patterns. Is nothing more than actually defining. The blues "Blue 7" is famous for the fact that Gunser Schuler cut it for such a methodology during the original release of "Saxophone Colossus", but for two years to retire dramatically in 1959. I couldn't stop the superhuman saxophone performance. This is still the with

Evans (P), Scott Rafaro (B) και Paul Motian (D). 1961 In 1956, was Sony Rollins ready? He was ready! In addition to this masterpiece, the album "Fron t-on Plus 4" featured brown / cockroach quintet at the time, the title song "Tener Madness", which hit Coltrane from the front, and "The Exk Ijit Plays" ・ Four Bird ”is also included. However, the saxophone Colosso is more out of any of them. It is not only because it focuses on quartet arrangements that can be known to be the most exciting process of Sony's creative processes, but also to use and inspire unusual repertoires. This is because it is one of the happy coincidence that all elements, such as the original songs obtained, are arranged in the same way. Rollins himself was inspired by songs such as "St. Thomas" and "Moritat" in "Sanbun Opera", and it is clear that he played in a concert 50 years later. Nevertheless, what we want to call these initial recording as decisive ones is the essence of an approach to Roll's improvisation, which brings out as much nuance and variations as possible from the theme and the related melody and rhythm patterns. Is nothing more than actually defining. The blues "Blue 7" is famous for the fact that Gunser Schuler cut it for such a methodology during the original release of "Saxophone Colossus", but for two years to retire dramatically in 1959. I couldn't stop the superhuman saxophone performance. This is still the with

Evans (P), Scott Rafaro (B) και Paul Motian (D). 1961 Recording in 1956, was Sony Rollins ready? He was ready! In addition to this masterpiece, the album "Fron t-on Plus 4" featured brown / cockroach quintet at the time, the title song "Tener Madness", which hit Coltrane from the front, and "The Exk Ijit Plays" ・ Four Bird ”is also included. However, the saxophone Colosso is more out of any of them. It is not only because it focuses on quartet arrangements that can be known to be the most exciting process of Sony's creative processes, but also to use and inspire unusual repertoires. This is because it is one of the happy coincidence that all elements, such as the original songs obtained, are arranged in the same way. Rollins himself was inspired by songs such as "St. Thomas" and "Moritat" in "Sanbun Opera", and it is clear that he played in a concert 50 years later. Nevertheless, what we want to call these initial recording as decisive ones is the essence of an approach to Roll's improvisation, which brings out as much nuance and variations as possible from the theme and the related melody and rhythm patterns. Is nothing more than actually defining. The blues "Blue 7" is famous for the fact that Gunser Schuler cut it for such a methodology during the original release of "Saxophone Colossus", but for two years to retire dramatically in 1959. I couldn't stop the superhuman saxophone performance. This is still the with

Evans (p), Scott Rafaro (b) κα Paul Motian (D). 1961 Records

The three who made this music on a sunny day in June 1961 did not imagine that the music would continue to influence over the years. But that was all. About two weeks later, Rafaro died, and Evans left for the first Big Group's ashes. The album was personally chosen by Evans as the best representation of the trio through Rapalo's very talented bass range. Since then, thousands of people have agreed to his opinion and has not only called this album as an Evans's favorite album, but also an album that has changed their lives (in some cases a career). Why? The three trio members not only reached the peak on the Village Vanguard Sunday, but also exchanged as quiet and wild inventions. As an equal partner, they continued musical dialogue on song selection after selection of songs, which were rarely done with professional microphone earphones. That said, the contribution of Evans, which keeps the depth and freshness today, will not be impaired. Various CD versions of this set are available in all configurations.

Coleman (ως), Don Cherry (T), Charlie Hayden (B), Billy Higgins (D) Recording: 1959 The three who made this music on a sunny day in June 1961 Nobody imagined that this music would continue to influence over the years. But that was all. About two weeks later, Rafaro died, and Evans left for the first Big Group's ashes. The album was personally chosen by Evans as the best representation of the trio through Rapalo's very talented bass range. Since then, thousands of people have agreed to his opinion and has not only called this album as an Evans's favorite album, but also an album that has changed their lives (in some cases a career). Why? The three trio members not only reached the peak on the Village Vanguard Sunday, but also exchanged as quiet and wild inventions. As an equal partner, they continued musical dialogue on song selection after selection of songs, which were rarely done with professional microphone earphones. That said, the contribution of Evans, which keeps the depth and freshness today, will not be impaired. Various CD versions of this set are available in all configurations.

Coleman (ως), Don Cherry (T), Charlie Hayden (B), Billy Higgins (D) Recording: Three of those who made this music on a sunny day in June 1959 Nobody imagined that it would continue to influence for many years. But that was all. About two weeks later, Rafaro died, and Evans left for the first Big Group's ashes. The album was personally chosen by Evans as the best representation of the trio through Rapalo's very talented bass range. Since then, thousands of people have agreed to his opinion and has not only called this album as an Evans's favorite album, but also an album that has changed their lives (in some cases a career). Why? The three trio members not only reached the peak on the Village Vanguard Sunday, but also exchanged as quiet and wild inventions. As an equal partner, they continued musical dialogue on song selection after selection of songs, which were rarely done with professional microphone earphones. That said, the contribution of Evans, which keeps the depth and freshness today, will not be impaired. Various CD versions of this set are available in all configurations.

Coleman (ως), Don Cherry (T), Charlie Hayden (B), Billy Higgins (D) Recording: 1959

I don't know what Ornette's executives of the record company have caused the album name, but by the time Atlantic releases this work, which is an altoist's debut, she is already from the contemporary. Ers Hair] was launched an album. And tomorrow is the problem. In any case, few of the people who were observing those days suffered this exaggerated expression. Ornette had a huge impact on the subsequent jazz development, because it was a slope compared to Coltrane, Eric Dolphy and Miles Davis. What was actually included and expressed in this album was a completely different fresh music signpost in jazz. He also brought back the most basic blues and folk music, strict, lively lamenting and constantly changing tones. Later, we learned that he brushed his music teeth with a tenor in Texas's R & Amp; B band, but it all made sense. At that time, in the Five Spots and Atlantic's recording studio, he didn't feel like listening to Symphony, as if the Hun tribe Attilla was back. Ornette never blessed him. (KS)

Coltrane (TS, V), McCoy Tainer (P), Jimmy Garrison (B) κα Elvin Jones (D). 1964 Records What is the album name for the record company? I don't know if it was done, but by the time Atlantic released this work, which is an Altoist's debut, she had already released an album called Samsing Els Hair. And tomorrow is the problem. In any case, few of the people who were observing those days suffered this exaggerated expression. Ornette had a huge impact on the subsequent jazz development, because it was a slope compared to Coltrane, Eric Dolphy and Miles Davis. What was actually included and expressed in this album was a completely different fresh music signpost in jazz. He also brought back the most basic blues and folk music, strict, lively lamenting and constantly changing tones. Later, we learned that he brushed his music teeth with a tenor in Texas's R & Amp; B band, but it all made sense. At that time, in the Five Spots and Atlantic's recording studio, he didn't feel like listening to Symphony, as if the Hun tribe Attilla was back. Ornette never blessed him. (KS)

Elim Poon - Journalist, Creative Writer

Last modified: 27.08.2024

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