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Please enable JavaScript in your browser to use the site fully.Along with the blues, its forefather, it is one of the first truly indigenous musics to develop in America, yet its unpredictable, risky ventures into improvisation gave it critical cache with scholars that the blues lacked. At the outset, jazz was dance music, performed by swinging big bands. Soon, the dance elements faded into the background and improvisation became the key element of the music. As the genre evolved, the music split into a number of different styles, from the speedy, hard-hitting rhythms of be-bop and the laid-back, mellow harmonies of cool jazz to the jittery, atonal forays of free jazz and the earthy grooves of soul jazz. What tied it all together was a foundation in the blues, a reliance on group interplay and unpredictable improvisation. Throughout the years, and in all the different styles, those are the qualities that defined jazz. Please enable JavaScript in your browser to use the site fully.Along with the blues, its forefather, it is one of the first truly indigenous musics to develop in America, yet its unpredictable, risky ventures into improvisation gave it critical cache with scholars that the blues lacked. At the outset, jazz was dance music, performed by swinging big bands. Soon, the dance elements faded into the background and improvisation became the key element of the music. As the genre evolved, the music split into a number of different styles, from the speedy, hard-hitting rhythms of be-bop and the laid-back, mellow harmonies of cool jazz to the jittery, atonal forays of free jazz and the earthy grooves of soul jazz. What tied it all together was a foundation in the blues, a reliance on group interplay and unpredictable improvisation. Throughout the years, and in all the different styles, those are the qualities that defined jazz. Please enable JavaScript in your browser to use the site fully.
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Along with the blues, its forefather, it is one of the first truly indigenous musics to develop in America, yet its unpredictable, risky ventures into improvisation gave it critical cache with scholars that the blues lacked. At the outset, jazz was dance music, performed by swinging big bands. Soon, the dance elements faded into the background and improvisation became the key element of the music. As the genre evolved, the music split into a number of different styles, from the speedy, hard-hitting rhythms of be-bop and the laid-back, mellow harmonies of cool jazz to the jittery, atonal forays of free jazz and the earthy grooves of soul jazz. What tied it all together was a foundation in the blues, a reliance on group interplay and unpredictable improvisation. Throughout the years, and in all the different styles, those are the qualities that defined jazz. Please enable JavaScript in your browser to use the site fully.Along with the blues, its forefather, it is one of the first truly indigenous musics to develop in America, yet its unpredictable, risky ventures into improvisation gave it critical cache with scholars that the blues lacked. At the outset, jazz was dance music, performed by swinging big bands. Soon, the dance elements faded into the background and improvisation became the key element of the music. As the genre evolved, the music split into a number of different styles, from the speedy, hard-hitting rhythms of be-bop and the laid-back, mellow harmonies of cool jazz to the jittery, atonal forays of free jazz and the earthy grooves of soul jazz. What tied it all together was a foundation in the blues, a reliance on group interplay and unpredictable improvisation. Throughout the years, and in all the different styles, those are the qualities that defined jazz. Please enable JavaScript in your browser to use the site fully.Well, no, and presumably the compilers of this U.K. set knew that going in.
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But calling this an essential anything while devoting the entire second disc to smooth jazz, starting off with the execrable faux jazzer Kenny G, is just laughable. The first disc is well worth a visit, and the third, devoted to Latin jazz, is in itself quite a treat. The first disc is, in fact, about as good as it gets as far as distilling classic jazz goes. From Satchmo to Bird, this is one impenetrable wall of genius: key tracks from Duke Ellington, Benny Goodman, Dizzy Gillespie, Count Basie, Sonny Rollins, Thelonious Monk, Miles Davis, Chet Baker, John Coltrane and more on one CD is not a bad way at all to spend an hour or so of your life. But the smooth jazz selections just can't hope to compare. Sure, artists like Larry Carlton and David Sanborn are fine musicians with plenty to offer, but many of the others here are inconsequential -- look again at that disc one lineup and see how names like 2Play and Tom Browne compare. Point made. The Latin sequence is quite enjoyable. Stan Getz and Joao Gilberto, Mongo Santamaria, Willie Bobo and others great and not so great make for an enjoyable summation of the genre. But essential? It's up to you. Author Vladimir Bogdanov Chris Woodstra Stephen Thomas Erlewine Language English Series All Music Guide to.Artists are listed alphabetically and include some of the following: birth and death dates, classification ( vocals, guitar, drums, etc.), a biography, a discography.Retrieved 2006-12-21. By using this site, you agree to the Terms of Use and Privacy Policy. Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.Please try again.Please try again. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
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Register a free business account The print is small and there's not a lot of space wasted on photos and filler--in fact, the only non-text additions are 51 music maps, smartly illustrating which performers played in which categories of a range of topics, from accordion and big bands to vocal groups and significant fusion players. There are short essays on topics like ragtime, cool, acid jazz, jazz history, and jazz in film, plus indexes for jazz books, venues, and videos, producers, writers, and labels, and a much-appreciated comprehensive index. The bulk of this extraordinary reference, however, consists of musician profiles (more than 1,700) and reviews of their recordings (more than 18,000), arranged alphabetically from Greg Abate to John Zorn, providing biographical details of well-known figures such as Artie Shaw, Duke Ellington, Thelonious Monk, as well as his son T.S. Monk and more obscure artists such as Don Byas, Richard Tabnik, Oscar Pettiford, Hot Lips Page, and Chubby Jackson. The profiles are well researched, short, and richly informative and entertaining. Take Bob Scobey, for example. In one brief paragraph, you learn he was a Dixieland trumpet player and band leader from Tucumcari, New Mexico, lived from December 9, 1916 to June 12, 1963, and was a popular trumpeter in his prime. He played in Watter's Yerba Buena Jazz Band in San Francisco (one of the most influential bands in the Dixieland revival), formed his own Frisco Jazz Band, opened Club Bourbon Street in 1959 in Chicago, and died four years later of cancer at 46. The profiles are reason enough to appreciate AMG Jazz, but the recording reviews are even more impressive. Following each biography is a comprehensive list of the artist's recordings, with a star rating (0 to 5), information about who plays what, how long it runs, what sort of music it is, notable high points, low points, or both, and any other songs or notes of historic or musical interest.
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Mesmerizingly addictive to jazz musicians, accessibly, enjoyably instructive to the novice, reliably erudite for the scholar, vastly entertaining for the browser, and irreplaceable as a CD-purchase guide, the All Music Guide to Jazz sets the standard for what a music-reference book should be. --Stephanie Gold These two guides are very similar in content and coverage, with some significant differences in approach. Both consist of biographical entries, ranging in length from a mere paragraph to several pages, followed by discographical listings with some kind of rating system. Musichound covers almost 1300 artists in 1390 pages, while All Music has over 1700 entries in 1378 pages (employing a somewhat smaller font). The biographical entries in both tend to be more in-depth than those found in Jazz: The Rough Guide and cover a much wider range of artists than found in the more conservative Guide to Classic Recorded Jazz. Quite helpful and easy to read, Musichound covers in essay style which recordings to buy first, which to buy next, which to avoid, and which are rare but worth hunting. It also manages to include several artists' birthdates that do not appear elsewhere, giving it added strength as a reference source. All Music presents its listings in chronological order, employing a system of symbols indicating essential collections and recommended first purchases, as well as a rating system. The discussion of each individual recording seems designed to stand on its own, which makes for some repetition. This edition of All Music corrects many of the errors that plagued earlier ones. Both books are recommended; the library that can only obtain one might opt for All Music, since it is more comprehensive, but it would be a very close call.?Michael Colby, Univ. of California, Davis Copyright 1998 Reed Business Information, Inc.Full content visible, double tap to read brief content. Videos Help others learn more about this product by uploading a video.
Upload video To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Please try again later. Charles Farrell 1.0 out of 5 stars I'm always astonished that they're taken to be experts: they know very little about jazz, and their responses are invariably anodyne. The only redeeming quality the book has is that it's a sure thing to put you to sleep if you're having trouble drifting off.If I had to choose between them, I'd choose the All Music Guide because of the capsule biographies (including birth and death dates) of each artist that are included with every entry. Also, it lists more albums, although some of them are not on CD, but on vinyl only. Books about jazz and biographies of jazz artists are reviewed; if that weren't enough, there are also listings and reviews of jazz videos. Truly a wonderful book. On the other hand, many of the Penguin reviews are more lengthy and in-depth than those in the All Music Guide. For myself -- I need both of them!So there's a lengthy covering of Tony Bennett, and the arc of the entire entry is easy to follow, you understand the artistic, popularity and industry issues that shaped his recordings and career. Is Bennett Charles Mingus. No, but he worked with a lot of jazz musicians and it's probably a lot more useful to a discerning listener to read about him in a jazz encyclopedia than one of popular music. However I do think that the reviews could focus more on describing the album and the artists so I understand why I might like the album even though it only has three stars or dislike it despite the fact it has four stars. I also think that one criticism of a dearth of remastering or sound quality info is valid. But hey, if you're serious about sound quality you probably want original vinyl, anyway.
Overall the book certainly needs an update, and a bit more focus on the purchasers perspective.Back when this came out I suppose that made sense. But I'd prefer and older version from the pre-CD era, an AMG Guide to Jazz LPs maybe. Or a brand new version that was more LP-centric. Also it is possible that this was published at a time when many releases were still not on CD. First thing I noticed was no entry for Hank Crawford's Mr Blues on Atlantic. Is that really a fly-over release, not worthy of inclusion?Its printed counterpart for jazz is practical, but it lacks the depth, scholarship, style and vitality of the Penguin Guide. It also, crucially, lacks an index. However, it is helpful in that it isn't concerned -as the Penguin is- with whether a recording is available or not. That way it tantalisingly points to material that has not been reissued or is still only on vinyl. Those of us who love the hunt for rare records will be delighted by this. The writing is competent and highly informed, but stops short of erudition and wit. It's also slightly overenthusiastic, as if there were few bad recordings in jazz. Of course there are, in their thousands. And sophisticated listeners want to become discerning; they want to know why something good is good, and why something poor is poor. To become discerning you need more challenging books than this. But it remains essential as a basic reference item for its breadth alone.Page 1 of 1 Start over Page 1 of 1 Previous page Next page. Groups Discussions Quotes Ask the Author To see what your friends thought of this book,Jazz music has been commercially recorded for about 100 years. Thus, this guide lists thousands of jazz artists. Even the number of the most prominent artists runs to many hundred. Having said that, I am very impressed with how easy it is to get information on any artist. The main use of the guide is to help in choosing a particular recording by a certain artist or group.
The reviews are excellent and the rating system i Jazz music has been commercially recorded for about 100 years. Thus, this guide lists thousands of jazz artists. Even the number of the most prominent artists runs to many hundred. Having said that, I am very impressed with how easy it is to get information on any artist. The main use of the guide is to help in choosing a particular recording by a certain artist or group. The reviews are excellent and the rating system is very helpful in (for instance) deciding what music to purchase or stream. My edition is a bit out of date, but my jazz music tastes run to modern, swing, cool, bebop, and hot, and those are well covered. It's like an encyclopedia of jazz. If you are an avid listener - get this book. It's baller. It's like an encyclopedia of jazz. If you are an avid listener - get this book. It's baller. There are no discussion topics on this book yet. Information on remote access to library resources and services will be updated regularly on the Remote Resources and Guidance for Library Users page and this FAQ. Please do not hesitate to contact us if you need additional assistance.Each signed article (of 50 to 100 pages) examines one chunk of history. Remember to follow up on the notes (gathered at the end of each volume) to point you toward the authors' sources or other suggested reading. The final volume contains a comprehensive chronology, bibliography, and master index. Olaf's Halvorson Music Library. Close Alert Close Online Only May 19, 2008 Issue 100 Essential Jazz Albums By David Remnic k May 12, 2008 Facebook Twitter Email Print Save Story Save this story for later. Facebook Twitter Email Print Save Story Save this story for later. First, I asked Schaap to assemble the list, but, after a couple of false starts, he balked. Such attempts, he said, have been going on for a long time, but “who remembers the lists and do they really succeed in driving people to the source?
” Add to that, he said, “the dilemma of the current situation,” in which music is often bought and downloaded from dubious sources. Schaap bemoaned the loss of authoritative discographies and the “troubles” of the digital age, particularly the loss of informative aids like liner notes and booklets. In the end, he provided a few basic titles from Louis Armstrong, Count Basie, Benny Goodman, Miles Davis, and other classics and admitted to a “pyrrhic victory.” What follows is a list compiled with the help of my New Yorker colleague Richard Brody. These hundred titles are meant to provide a broad sampling of jazz classics and wonders across the music’s century-long history. Early New Orleans jazz, swing, bebop, cool jazz, modal jazz, hard bop, free jazz, third stream, and fusion are all represented, though not equally. We have tried not to overdo it with expensive boxed sets and obscure imports; sometimes it couldn’t be helped. We have also tried to strike a balance between healthy samplings of the innovative giants (Armstrong, Ellington, Parker, Davis, Coltrane, etc.) and the greater range of talents and performances. Since the nineteen-seventies, jazz has been branching out in so many directions that you would need to list at least another hundred recordings, by the likes of Steve Coleman, Stanley Jordan, Joe Lovano, Jacky Terrasson, John Zorn, David Murray, Avishai Cohen, Bela Fleck, Eliane Elias, Roy Hargrove, Dave Douglas, Matthew Shipp, Gonzalo Rubalcaba, Fat Kid Wednesdays, and many, many others. There is a suggestion below of the dazzling scope of contemporary jazz, but the focus is on the classic jazz that is Schaap’s specialty. Fats Waller, “ Handful of Keys ” (Proper, 2004; tracks recorded 1922-43). King Oliver, “ King Oliver’s Creole Jazz Band: The Complete Set ” (Challenge, 1997; tracks recorded 1923). Louis Armstrong, “ The Complete Hot Five and Hot Seven Recordings ” (Sony, 2006; tracks recorded 1925-29).
Louis Armstrong, “ The Complete RCA Victor Recordings ” (RCA, 2001; tracks recorded 1932-33 and 1946-47). Louis Armstrong, “ Louis Armstrong Plays W. C. Handy ” (Columbia, 1954). Fletcher Henderson, “ Tidal Wave ” (Verve, 1994; tracks recorded 1931-1934). Bessie Smith, “ The Essential Bessie Smith ” (Sony, 1997; tracks recorded 1923-33). Bix Beiderbecke, “ The Bix Beiderbecke Story ” (Proper, 2003; tracks recorded 1924-30). Django Reinhardt, “ The Classic Early Recordings in Chronological Order ” (JSP, 2000; tracks recorded 1934-39). Jelly Roll Morton, “ Jelly Roll Morton: 1926-1930 ” (JSP, 2000). Sidney Bechet, “ The Sidney Bechet Story ” (Proper, 2001; tracks recorded 1923-50). Duke Ellington, “ The OKeh Ellington ” (Sony, 1991—tracks recorded 1927-31). Duke Ellington, “ Golden Greats ” (Disky, 2002; tracks recorded 1927-48). Duke Ellington, “ Never No Lament: The Blanton-Webster Band ” (RCA, 2003; tracks recorded 1940-42). Duke Ellington, “ Ellington at Newport 1956 ” (Sony, 1999). Duke Ellington, “ Money Jungle ” (Blue Note Records, 1962). Coleman Hawkins, “ The Essential Sides Remastered, 1929-39 ” (JSP, 2006). Coleman Hawkins, “ The Bebop Years ” (Proper, 2001; tracks recorded 1939-49). Billie Holiday, “ Lady Day: The Master Takes and Singles ” (Sony, 2007; tracks recorded 1933-44). Teddy Wilson, “ The Noble Art of Teddy Wilson ” (ASV Living Era, 2002; tracks recorded 1933-46). Lester Young, “ Kansas City Swing ” (Definitive, 2004; tracks recorded 1938-44). Count Basie, “ The Complete Decca Recordings ” (Verve, 1992; tracks recorded 1937-39). Count Basie, “ The Complete Atomic Basie ” (Blue Note, 1994; tracks recorded 1958). Benny Goodman, “ At Carnegie Hall—1938—Complete ” (Columbia, 1999). John Kirby Sextet, “ Night Whispers: 1938-46 ” (Jazz Legends, 2005). Chick Webb, “ Stomping at the Savoy ” (Proper, 2006; tracks recorded 1931-39). Benny Carter, “ 3, 4, 5: The Verve Small Group Sessions ” (Polygram, 1991; tracks recorded 1954).
Charlie Christian, “ The Genius of the Electric Guitar ” (Definitive, 2005; tracks recorded 1939-41). James P. Johnson, “ The Original James P. Johnson: 1942-1945 Piano Solos ” (Smithsonian Folkways, 1996). The Nat King Cole Trio, “ The Best of the Nat King Cole Trio: The Vocal Classics, Vol. 1, 1942-1946 ” (Blue Note, 1995). Charlie Parker, “ The Complete Savoy and Dial Sessions ” (Uptown Jazz, 2005; tracks recorded 1944-48). Charlie Parker, “ Bird: The Complete Charlie Parker on Verve ” (Polygram, 1988; tracks recorded 1946-54). Charlie Parker, “ Best of the Complete Live Performances on Savoy ” (Savoy, 2002; tracks recorded 1948-49). Dizzy Gillespie and Charlie Parker, “ Town Hall, New York City, June 22, 1945 ” (Uptown Jazz, 2005). Dizzy Gillespie, “ The Complete RCA Victor Recordings, 1947-49 ” (RCA, 1995). Thelonious Monk, “ Genius of Modern Music, Vol. 1 ” (Blue Note, 2001; tracks recorded 1947). Thelonious Monk, “ Live at the It Club, 1964 ” (Sony, 1998). Thelonious Monk, “ Thelonious Monk with John Coltrane: The Complete 1957 Riverside Recordings ” (Riverside, 2006). Lennie Tristano and Warne Marsh, “ Intuition ” (Blue Note, 1996; tracks recorded 1949 and 1956). Miles Davis, “ The Complete Birth of the Cool ” (Blue Note, 1998; tracks recorded 1948-50). Miles Davis, “ Bags’ Groove ” (Prestige, 1954). Miles Davis, “ Kind of Blue ” (Sony, 1959). Miles Davis, “ Highlights from the Plugged Nickel ” (Sony, 1995; tracks recorded 1965). Miles Davis, “ Bitches Brew ” (Columbia, 1969). Bud Powell, “ The Amazing Bud Powell, Vol. 1 ” (Blue Note, 2001; tracks recorded 1949-1951), Vol. 2 (Blue Note, 2001; tracks recorded 1953). Gerry Mulligan, “ The Original Quartet with Chet Baker ” (Blue Note, 1998; tracks recorded 1952-53). Modern Jazz Quartet, “ Django ” (Prestige, 1953). Art Tatum, “ The Best of the Pablo Solo Masterpieces ” (Pablo, 2003; tracks recorded 1953-56). Sarah Vaughan, “ Sarah Vaughan with Clifford Brown ” (EmArcy, 1954).
Charles Mingus, “ Mingus at the Bohemia (Debut, 1955). Charles Mingus, “ Mingus Ah Um ” (Columbia, 1959). Charles Mingus Sextet, “ Cornell 1964 ” (Blue Note, 2007). Ella Fitzgerald, “ Ella Fitzgerald Sings the Cole Porter Songbook ” (Verve, 1956). Sonny Rollins, “ Saxophone Colossus ” (Prestige, 1956). Sonny Rollins, “ Night at the Village Vanguard ” (Blue Note, 1957). Sonny Rollins and Coleman Hawkins, “ Sonny Meets Hawk! ” (RCA, 1963). Tito Puente, “ King of Kings: The Very Best of Tito Puente ” (RCA, 2002; tracks recorded 1956-60). Sun Ra, “ Greatest Hits—Easy Listening for Intergalactic Travel ” (Evidence, 2000; tracks recorded 1956-73). Abbey Lincoln, “ That’s Him ” (Riverside, 1957). Art Blakey and the Jazz Messengers, “ Moanin’ ” (Blue Note, 1958). Ahmad Jamal Trio, “ Cross Country Tour: 1958-1961 ” (Verve, 1998). The Dave Brubeck Quartet, “ Time Out ” (Sony, 1959). Jimmy Witherspoon, “ The ’Spoon Concerts ” (Fantasy, 1989; tracks recorded 1959). Ornette Coleman, “ Beauty Is a Rare Thing: The Complete Atlantic Recordings ” (Atlantic, 1993; tracks recorded 1959-61). Ornette Coleman, “ Dancing in Your Head ” (Horizon, 1973). Freddie Hubbard, “ Open Sesame ” (Blue Note, 1960). Jimmy Smith, “ Back at the Chicken Shack ” (Blue Note, 2007; tracks recorded in 1960). Dinah Washington, “ First Issue: The Dinah Washington Story ” (Polygram, 1993; tracks recorded 1943-61). John Coltrane, “ My Favorite Things ” (Atlantic, 1960). John Coltrane, “ The Complete 1961 Village Vanguard Recordings ” (GRP, 1997; tracks recorded 1961). John Coltrane, “ A Love Supreme ” (Impulse!, 1964). John Coltrane, “ Ascension ” (Impulse!, 1965). Eric Dolphy, “ Out There ” (New Jazz, 1960). Eric Dolphy, “ Out to Lunch! ” (Blue Note, 1964). Bill Evans, “ The Complete Village Vanguard Recordings, 1961 ” (Riverside, 2005). Jackie McLean, “ A Fickle Sonance ” (Blue Note, 1961). Dexter Gordon, “ Our Man in Paris ” (Blue Note, 1963). Andrew Hill, “ Smokestack ” (Blue Note, 1963).
Lee Morgan, “ The Sidewinder ” (Blue Note, 1963). Albert Ayler, “ Spiritual Unity ” (ESP, 1964). Archie Shepp, “ Four for Trane ” (Impulse!, 1964). Horace Silver, “ Song for My Father ” (Blue Note, 1964). Wes Montgomery, “ Smokin’ at the Half Note ” (Verve, 2005; tracks recorded 1965). Cecil Taylor, “ Conquistador! ” (Blue Note, 1966). Betty Carter, “ Betty Carter’s Finest Hour ” (Verve, 2003; tracks recorded 1958-92). Frank Sinatra, “ The Capitol Years ” (Capitol, 1990; tracks recorded 1953-62). Nina Simone, “ Sugar in My Bowl: The Very Best of Nina Simone, 1967-1972 ” (RCA, 1998). Pharoah Sanders, “ Karma ” (Impulse!, 1969). Chick Corea, “ Return to Forever ” (ECM, 1972). Keith Jarrett, “ The Koln Concert, 1975 ” (ECM, 1999). World Saxophone Quartet, “ World Saxophone Quartet Plays Duke Ellington ” (Nonesuch, 1986). Charlie Haden and Hank Jones, “ Steal Away ” (Polygram, 1995). Joshua Redman Quartet, “ Spirit of the Moment: Live at the Village Vanguard ” (Warner Bros., 1995). Cassandra Wilson, “ Traveling Miles ” (Blue Note, 1999). Wynton Marsalis Septet, “ Live at the Village Vanguard ” (Sony, 1999). The Bill Charlap Trio, “ Live at the Village Vanguard ” (Blue Note, 2007). Published in the print edition of the May 19, 2008, issue. David Remnick has been editor of The New Yorker since 1998 and a staff writer since 1992. He is the author of “ The Bridge: The Life and Rise of Barack Obama.” More: Jazz Music This Week’s Issue Never miss a big New Yorker story again. Sign up for This Week’s Issue and get an e-mail every week with the stories you have to read. Enter your e-mail address Sign up Will be used in accordance with our Privacy Policy. All rights reserved. The New Yorker may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Conde Nast.
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