Getting into Jazz, Part 2

Contemporary Instrumental Jazz

In my previous post, we looked at classic instrumental jazz that would make good entryways into the world of Jazz music.  As we move into the more contemporary Jazz scene, choosing music become a little more subjective.  These albums have not been tested by time like the previous list.  We can't say for sure which music will truly have that enduring quality that we know exists in that music produced in the 50's and 60's.  The Jazz 100 website has a list of what they call "new breed" jazz, and that can be very helpful, but there's a lot of great music that just hasn't made it onto that list yet.

So here is a list of contemporary Jazz albums that I believe not only is great music but also makes for good entryways into the world of contemporary Jazz:

1. Roy Hargrove, Emergence (2009), Nothing Serious (2006) or Earfood (2008). Roy Hargrove is probably my favorite new Jazz artist, all three of these albums are a fine introduction to contemporary Jazz music.  Emergence is his first big band album he has made, and the other two are both straight up Jazz albums.  All of them truly enjoyable.

2. James Carter, Present Tense (2008). James Carter may be the best saxophone and woodwind player of this generation.  Much of his material is rather challenging, especially live.  However, this CD is very accessible to people new to Jazz music.

3. Aaron Parks, Invisible Cinema (2008). Aaron Parks is one of the more promising young Jazz pianists around today, getting his break playing with Terence Blanchard.  His compositions at first listen are very understated, but as one listens more to his music, it becomes all the more interesting.

4. Bennie Maupin, Early Reflections (2008) or Penumbra (2006). Maupin's music is very relaxing, so much so you may think of it as background music, but don't.  Sit in your living room and turn your stereo on loud.  Some of his compositions are rather free-form in nature, but Early Reflections will envelop you in its beauty nonetheless.

5. Wynton Marsalis, Standards and Ballads (2007). Wynton Marsalis rejuvinated Jazz in the 80's, and he continues to be an influential force in Jazz today.  Standards and Ballads is a relaxing and romantic CD that has both warmth and sincerity.

6. Avishai Cohen, Colors (2000) or Gently Disturbed (2008). Avishai Cohen is an Israeli bassist whose compositions frequently make use of eastern traditions, and his music truly captivating.  Turn up the bass as Gently Disturbed takes the piano trio to new heights.

7. Branford Marsalis, Eternal (2004). Marsalis writes, "All of the songs reflect the idea that there is beauty in sadness."  This is a CD of beautiful ballads composed either by him or by members of his band.

8. Michael Brecker, Pilgrimage (2007). This is Michael Brecker's final album before he died of cancer.  He knew it would be his last, so he poured his heart and soul into it, and it shows.

9. Ramona Borthwick, A New Leaf (2006). She is a virtual unknown in the Jazz world.  I found her only because Esperanza Spalding sings on two tracks on this album, and I loved those songs.  Borthwick has a unique style to her piano playing with which I am truly fascinated.  I thought about moving this higher on my list, but it may be hard to find, so I left it here.

10. Anton Schwartz, The Slow Lane (2000), Radiant Blue (2006) or When Music Calls (1998).All  of Schwartz's albums are beautifully crafted, and Schwartz's saxophone is a pleasure to hear.  Like Ramona Borthwick, he is not terribly well known, so his albums may be more difficult to come by.

Getting into Jazz, Part 1

Classic Instrumental Jazz

I have always loved the sound of Jazz.  Even as I child, my first record that wasn’t “kid” music was “In the Mood” by Glenn Miller (the extra ‘n’ in his name makes him a jazz musician and not a basketball coach).  Yet it was much easier for me to listen to rock music.  That’s what was playing on the radio, that’s what my friends listened to, and so on.  It really wasn’t until I was in my twenties that I pursued gaining any real awareness of jazz beyond liking it when I heard it.

My sense is that many are just like I was—having an interest in Jazz but perhaps not knowing where to begin. It all began to change for me when I received a few Jazz mix CDs: Pure Jazz, Pure Jazz EncorePriceless Jazz Sampler to name a few. Starbucks also began issuing CDs, and the Gazebo Blend  But the most helpful thing for me was turning to the Jazz 100 website.  This site ranks the top 200 best jazz albums of all time. I decided to find every album in the top 20 list from this site, and then later expanded that to the top 50.  It was through this process I found out what like, what I don’t like, and I found favorite artists to explore beyond what shows up on this list. And, I knew that I was going to be getting good jazz. and CD was particularly helpful.

I quickly realized, however, that this list is generated on popular opinion of which Jazz CDs are “the best,” regardless of style or accessibility.  Many avant garde and free Jazz CDs appear high up on the list.  It's great music, but they are certainly more challenging, and not the best entryways into the world of Jazz music.  So what I want to do is put together a list that will help people enter the world of Jazz.  We will look at old Jazz and new, vocal Jazz and instrumental, always considering the more accessible material first, and then the more challenging.

The following classic Jazz CDs are all instrumental albums that are extremely accessible to newcomers to Jazz:

1.  Miles Davis, Kind of Blue (1959).  Considered by many to be the greatest Jazz recording of all time, this CD is simply indispensable in any Jazz collection.  It is my favorite album of all time.  Davis takes a minimalist approach here, but the results are simply brilliant.  I can think of no better CD with which to start a journey into the world of Jazz.

2.  Cannonball Adderly, Somethin’ Else (1958). On this CD, Cannonball Adderly plays with Miles Davis, Hank Jones, Sam Jones and Art Blakey.  There is some debate as to how much influence Davis had on this album, but few deny the enduring quality of this CD.  And the simple beauty of the music is simply undeniable.

3.  Sonny Rollins, Saxophone Colossus (1956).  One difference between this CD and the two that precede it is that the others are true ensemble efforts—each instrument takes its place in the lead as the music fits.  This CD, as the title indicates, is all about the saxophone.  It’s a well-crafted CD, filled with delightful and recognizable melodies.

4.  John Coltrane, Blue Train (1957).  Most people recognize Coltrane as one of the greatest Jazz musicians and composers.  Most don’t realize that much of his music, particularly his later music, can be very difficult listening.  My favorite Coltrane CD is A Love Supreme, but a better entry way into his music is Blue Train.  I’m told that Coltrane thought of this as his favorite. You may also try Giant Steps or My Favorite Things.

5.Dave Brubeck, Time Out (1959).  Of the CDs on this list, this may be the most unique, and still one of the most popular jazz albums ever released.  Dave Brubeck messed with the time signatures for all the songs on this album.  Most all Jazz is in standard 4/4 time, but little on this CD is in that time signature.

6. Bill Evans Trio, Waltz for Debby (1961).  Along with his Sunday at the Village Vanguard, this CD was truly revolutionary in the role the bass could play in a piano trio.  Yet every song is simple, beautiful and understated.

7. Stan Getz and Charlie Byrd, Jazz Samba (1962).  Stan Getz has such a great sound on his sax that just about anything he does is great.  But, this is Getz at his finest.  As you may be able to tell from the title, Byrd and Getz combined American Jazz with Latin influences from Brazil to create a truly unique style that has been followed by many since.

8. Art Blakey and the Jazz Messengers, Moanin’ (1958).  This is drummer Art Blakey’s best effort, and the song “Moanin’” is immediately known by just about anyone.   However, the other songs on this album are just as worth of attention. Lee Morgan truly shines here on trumpet as well.

9.  Horace Silver, Song for My Father (1964).  “Song for My Father” and “Que Pasa” are well-known songs, but the rest of this album is just as brilliant, and I think to some extent this album is under appreciated.

10. Dexter Gordon, Go (1962).  The most recognizable songs here are probably “Cheese Cake” and “Three O’clock in the Morning,” but this whole album shines.

Interaction

I have a friend who a few years ago was a student at the Maryland Institute College of Art (MICA).  She asked me to come to her presentation of a community art project she had just finished.  I was delighted to come and see what she was going to present.  When she began her presentation, she displayed a clear jar of chewed bubble gum.  I must say I was intrigued.  She went on to share about how she had set up a "venting booth" in Baltimore City, where people had the opportunity to come to her booth and vent to her about their thoughts of what was going on in their neighborhood.  They received their gum and vented as they chewed, and when they were done venting, they would spit out the gum in the jar.  She then kept a record of all the venting she had heard during the day.

Afterwards, we went to lunch, and I asked her a question that has permanently changed my perspective on art.  I asked her, "So what was the art?  Was it the jar of chewed gum or the conversations you had with people?"  Her answer was that it was the interaction between her and her community--it was the conversation.  This was puzzling for me.  I had always thought of art as something that had some permanence to it--you can hang it on a wall, put it in a CD player, watch on TV, etc.  Yet of course, this is not true at all.  Concert performances are gone as soon as they are done--they exist only in the memories of those who were there.  Photographs fade and often take on different artistic qualities as they do.  Nothing really is permanent.

But what intrigued me is that art is interaction.  It is in a real sense a conversation between the artist and a community.  I don't mean that art requires that we call up artists and let them know what we think of their work.  What I mean is that artists are always interacting with a community as they produce a work of art, whether it be a painting or a conversation.  Recipients are also interacting with their community as they engage in art.  Beauty exists in the substance of a work of art, but beauty also exists in the interaction we have with it, and with each other as well.

And this is exactly what I'm hoping for in this blog.  We want to interact with art and with perspectives on art and culture.  However, I also hope that the conversations and interactions that take place here will be forms of artistic expression as well.