Cannonball Adderley Somethin' Else  Blue Note BLP 1595/BST 1595

(1958)

For good reason this is one of the most reissued Blue Note titles of all time.  A seminal session regardless of who the disputed leader might be.  While Adderley's name tops the list of personnel some have claimed that this was a sideways way to get Miles (who was then signed to Columbia) to cut a record for Blue Note.  Either way, this quintet's performances, highlighted by their interpretations of Autumn Leaves and Love For Sale, are some of the finest ever committed to tape.

Chet Baker Chet  Riverside RLP 12-299/RLP 1135

(1958)

The cover art of this record perfectly conveys the emotions of the music within.  Warm, hazy and melancholy are words that to come to mind once the needle clicks in the groove and the music starts to flow.  This is the perfect album for solitary late nights or quiet Sunday mornings.  Along with Chet's "lyrical" trumpet the lineup also consists of superb contributions by Pepper Adams on baritone sax, Bill Evans on piano, Kenny Burrell on guitar and Herbie Mann on flute.  It's late, let's play some Chet.

The Dave Brubeck Quartet Time Out  Columbia CL 1397/CS 8192

(1959)

Although the concept for this album was atypical time signatures, that takes nothing away from the sheer listenability and enjoyment of this collection of songs.  So much so that it's signature track, Take Five, is probably one of the most recognized pieces of instrumental music in the world.  Due largely in part to the cool "dry martini" sound of Paul Desmond's saxophone and Joe Morello's explosive drum solo.  No cocktail party should be without it.

John Coltrane Giant Steps  Atlantic 1311

(1959)

Deciding which Coltrane LP to include here (keeping my self-imposed limit of one entry per artist) was extremely difficult because of his many landmark contributions.  How could A Love Supreme or Blue Train be left off?  It was only after great wailing and gnashing of teeth that Giant Steps emerged as the essential Coltrane.  He wrote all of the compositions, more that half of which have gone on to become standards, and performed solos with such innovation that jazz musicians continue to reverently learn note for note.

Miles Davis Kind Of Blue  Columbia CL 1355/CS 8163

(1959)

I don't know what more I can say that hasn't already been said about this modal masterpiece.  Probably the only jazz record that has made every reviewers list since it's release and deservedly so.  A quote from the liner notes, written by Bill Evans, regarding a style of Japanese visual art helps sums up my feelings for the aptly titled Kind Of Blue "...those who see well find something captured that escapes explanation."  The epitome of understated genius.

Duke Ellington Masterpieces by Ellington  Columbia ML 4418

(1950)

This was Duke's first recording done specifically for the new "Long Play" record format; for the first time they were able to record "uncut concert arrangements" that were too long to fit on a 78rpm disc.  It's rare that I will say that technology aided the advancement of art but this is truly one of those occasions.  This disc makes you realize how much musicianship has taken a backseat today and how modern recording has technology stuck in it's ear, failing to capture magic the way they did in 1950.  

Bill Evans Trio Waltz For Debby  Riverside RLP 399/RS 9399

(1961)

Waltz For Debby was the last release by Bill Evans' legendary trio that included Paul Motian on drums and Scott LaFaro, who died in a car accident shortly after this was recorded, on bass.  The companion album, Sunday At The Village Vanguard, focused more on LaFaro's contribution, while this set of songs emphasizes the sophisticated and introspective ability of the trio.  Although the playing is intricate, some might say at times intellectual, it is never at the expense of feeling.

Stan Getz & Joao Gilberto Getz/Gilberto  Verve V 8545/V6 8545

(1963)

This was not Stan Getz's first foray into Latin jazz (Jazz Samba had come out the previous year) but it is his most well known.  It would be hard to believe that a great record would not come about with Stan teaming up with the "father of Bossa Nova" Joao Gilberto, Antonio Carlos Jobim and the then newcomer Astrud Gilberto.  Most are familiar with the worldwide sensation, Girl From Ipanema, that came from this session but it should be known that every song on this album is stellar - a true classic.

Charles Mingus Ah Um  Columbia CL 1370/CS 8171

(1959)

Ah Um, the first of two albums Charles Mingus recorded for Columbia in 1959 (the second being Mingus Dynasty), has gone on to become a fundamental work in his canon.  The band assembled for this session, including Booker Ervin on sax and Horace Parlan on piano, was one of the strongest groups that Mingus ever put on record.  The music, full of rich textures and dynamic shading, pays homage to traditional jazz while all the while looking forward to the new music of the coming decade.

Sonny Rollins Saxophone Colossus  Prestige LP 7079

(1956)

Sonny Rollins, Tommy Flanagan, Doug Watkins and Max Roach are in top form on this acclaimed Prestige session.  Sonny's playing exudes confidence throughout, from uptempo numbers like Strode Rode to the stark ballad You Don't Know What Love Is.  This album, recorded by the legendary Rudy Van Gelder in his Hackensack studio, is a great place to start exploring Sonny Rollins' extensive musical career that continues to this day.