An Unabashedly Biased Commentary on Jazz 'Must Haves'
I think it would be rather bold to try to write to the history and current practices in and of jazz in one article. Either that or, hey, I just don't have the endurance or attention span to attempt such a comprehensive undertaking and/or analysis. I can, however, offer a starting point that I think would provide a jazz newcomer to some delicious and EVER so exciting pieces of and moments in jazz music. I can in no way begin to know all of what is good and great in the vast discography of jazz which, by now is closing in on the century mark. You can look as far back as Scott Joplin, Jelly Roll Morton, and the heavyweights in blues and gospel, in vaudville and yes, even the burlesque, and find some claim to the rich history and collective flavors that make up the stew we today enjoy as much as ever. I can tell you to go drink up and absorb yourself in the musical treasures of Louis Armstrong, Duke Ellington, Charlie Parker, Thelonius Monk, John Coltrane, Miles Davis, Oscar Peterson, "Lady Day", even the sultry and sumptuous Bessie Smith or Ma Rainey - both of very early blues and jazz legendome, Dave Brubeck, Bud Powell, Alice Coltrane, Ella Fitzgerald, and as you can see the naming of the greats becomes tedium alone - and it won't be enough to begin to have sampled the treasure that exists.
The irony that I must point out straight away, is that I am of course referring to and recommending jazz that has already been performed and recorded. The great jazz albums you listen to today, will be the same thing that your parents or grandparents or great-grandparents listened to, perhaps minus the static and scratches of the vinyl of yesteryear, when the ultimate spirit of jazz is one of improvization. The lifeblood of jazz today is the same as it was nearly a hundred years ago, and that is the live performance. The very definition of jazz is spontaneity and experimentation and the collective sharing of a musical moment - IN the moment!
That said - the philosophy and ultimate ideal of jazz as an experience and music form is so SOOO mouth-wateringly preserved in the ironic medium of replayable recordings. So, jazz the style is and must be available to those of us who could never have heard 'the Birdman' do with his saxophone stuff that makes most of his heirs rather jealous. It is valuable to hear it now - even if the 'jazz moment' is gone forever.
So that's my pitch to go out and EXPERIENCE jazz that is happening today. But if you want to hear what incredible stuff happened up until now, I have a very slanted, opinionated, and one-sided "you GOTTA get" selection of tunes, albums, and artists, and some tidbits to give a little context.
To start, I generally do NOT recommend what I'm about to recommend - except to the person trying to survey an entire style. That said, I'd check out some compilations and "best of"s. And, the Ken Burns series on jazz is pretty comprehensive and informative.
Some of my favorites are McCoy Tyner, John Coltrane, The Badplus, Thelonius Monk, Michel Camilo (especially his 'One More Once', Tierney Sutton (she does a silky and *spot on* version of Autumn Leaves), Dave Brubeck (he's famous for 'Take 5', but you gotta hear his Blue Rondo a la Turk'!).
The must haves (or cliche'd must haves!) include:
Miles Davis (trumpet)
Charlie Parker (alto sax)
Joshua Redman (alto, soprano AND tenor saxes)
Sonny Rollins (tenor sax)
Bill Evans (a jazz piano virtuoso!)
Duke Ellington (piano, conductor, composer)
Glenn Miller (ugh - but swing is part of jazz, so....)
Some others to sample:
SINGERS:
Ella Fitzgerald
Sarah Vaughan
Billy Holiday
Take Six (I can't believe I almost forgot these ever so harmonically astute a' capellists!)
PIANISTS:
Abdullah Ibrahim: this guy and his trio (usually a trio) are as mellow-toned, yet rhythmically vibrant as I've ever heard. Their stamina is amazing, as I bore witness to one night at the Regattabar in Cambridge. They played a whole set - melding one piece into another without stopping. I didn't like that too much. I was impressed. But even if THEY didn't need to take a breath, aesthetically and aurally I sure could have. Very simple and understated left hand, and a dynamic sensitivity by Ibrahim reminiscent of the finest "touch" in jazz piano - Bill Evans. Harmonically and texturally *extremely* intelligent and attentive bass playing, and some of *THE* tightest drumming any rhythm section or trio ever had!
Bill Evans: I'm just a wee bit afraid to write of this giant. His chops approach a classical level of sophistication the likes of which I am almost out of my element to appreciate. Delicate is a word that, sitting next to Evans, looks like some boorish, loud-mouthed drunk with beer belly exposed and belches to share! His is a rather poignant biography. His silver lining definitely had a cloud (actually a syringe), but *oh* did his silver lining EVER shine so beautifully!
Cyrus Chestnut - you just *have* to hear his 'Baroque Impressions'. Chestnut doubtless swings, but it's equally obvious he has spent some time battling Bach's 'Well Tempered Clavier'.
Donal Fox - you wanna hear Bach flow seamlessly into straight ahead style and back, I'm even more awed by Fox than by Cyrus Chestnut's 'Baroque Impressions'. A technique that you can tell by the third bar of any set has been bought and paid for by many hours and years in the woodshed.
Herbie Hancock (I swear his sound *defined* the innovation and soundscape of the 70's, and he has been modern, relevant, and versatile his whole career. He can play straight ahead jazz, cool jazz, free jazz, as well as funk, soul, disco AND rock/pop! You can doubtless hear him being used or sampled somewhere in the hip hop world too, I'm sure)
McCoy Tyner (yes, he's my favorite, so I mention him twice! ;)) I am in love with his raw power and harmonic guts. His use of fourths excites the hell out of me.
DRUMMERS:
they begin and end with Elvin Jones! (okay - obviously biased opinion - but his work with Coltrane and Tyner - and as a guru/leader in his own band, as well as a saucy and gracious sense of humor, greatly endeared me to him!)
BASSISTS:
Charles Mingus (bass player, conductor, composer, and SUCH unique arrangements and ensemble texture)
Ron Carter - the one and only, a man as big as his instrument, and chops to have kept up with Coltrane at his 'sheetiest' intensity which produced THE sax players Holy Grail - Giant Steps. Carter is still on the scene as a much sought after bill, with ticket prices that dwarf most others on the schedule - and rightfully so. And we must not forget his disciple:
Christian McBride - who I cannot wait to hear again after too many years since seeing him live. Mr. McBride! When are you coming back to Cambridge to play?
I could go on and on....I hope these will wet your whistle! :) I hope you are just as inspired and thrilled as I am to hear the music that remains as relevannt and important today as it ever did when it was the 'popular' music of its day. Go out there and find out for yourself. It's still living. It's still breathing.
Go take it in!
Learn more about this author, Stanley W. Shura.
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