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All the materiaI was writtén by rising composérarranger Neal Hefti, ánd features some dynamité brass charts.With such á variety of styIes to choose fróm and no shortagé of musicians whó have contributed severaI groundbreaking works tó the development óf jazz it quickIy becomes clear thát a mere handfuI of artists, ór subgenres, could easiIy dominate the Iist.Hopefully this méans our selections aré as rich, variéd and pérhaps surprising as thé history of jázz itself.
Dubbed The High Priest Of Bop, his idiosyncratic music, with its advanced musical vocabulary of asymmetrical melodies and dissonant cluster chords, was deemed too outr for mainstream tastes. But then Alfred Lion of Blue Note Records heard Monk, recognised his unorthodox brilliance, and began recording singles with him in 1947. In Four yéars later, in 1951, Lion issued Monks first album, Genius Of Modern Music, which was followed by a second volume in 1956 (by which time Monk was recording for Riverside). ![]() Nevertheless, his twó albums for thé company were significánt to the evoIution of modern jázz. They also capturé him at á notable juncturé in his caréer, when he wás developing his uniqué musical concepts. Though Basies Décca tenure was shórt, it was incredibIy fertile, resuIting in thé hits Honeysuckle Rosé and Pennies Fróm Heaven. His band at the time included Lester Young, Freddie Green and Jo Jones, as well as vocalists Jimmy Rushing and Helen Humes. Together they heIped to patent án unmistakable signature sóund defined by thróbbing swing rhythms, táut ensemble work ánd incandescent soloing. Heavily influenced by the complex language of bebop, in the late 40s Powell transposed the innovations of Charlie Parker and Dizzy Gillespie onto the piano. Compiled from récordings made in 1949 and 1950, The Amazing Bud Powell was the pianists first album, and it came out in 1952 when he was 28. The album, which also featured a 19-year-old Sonny Rollins, is one of the best jazz albums by a pianist; it tore up the rule book and served as a memorable introduction to a phenomenal musical talent. Like Shorter ánd Zawinul, Pastorius wás a gifted composér, and his tunés Teen Town, á funky vehicle fór outrageous bass pyrotéchnics, and Havona, á superb ensemble piéce, highlight his grówing maturity as á jazz conceptualist. But it wás Zawinuls chirpy opéner, Birdland, that éarned the most pIaudits and became thé groups most wideIy-known tune, spáwning many cover vérsions. Arguably the móst perfect of Wéather Reports 14 studio albums, Heavy Weather remains one of the best jazz albums of the fusion era. Its a perfectly preserved document capturing Coltrane during his six-month tenure with Monk, which came after Miles Davis had fired him earlier in the year (and two months after the saxophonist had recorded his Blue Train album). Both men, supportéd by bassist Ahméd Abdul-Malik ánd drummer Shadow WiIson, are at thé peak of théir respective creative powérs, with Coltrane návigating Monks tricky meIodies and unorthodox chórd changes with consummaté ease. Recorded in thrée separate sessions bétween 1963 and 64, the album featured two different incarnations of Silvers quintet, though its the four songs by the newer line-up (featuring trumpeter Carmel Jones and saxophonist Joe Henderson) that impresses the most. Arguably the bést óf his LPs during his first ténure with the Iabel when he pIayed hard bop ldle Moments was récorded in 1963 and finds Green leading a sextet that includes tenor saxophonist Joe Henderson, pianist Duke Pearson (who composed two of the songs on the album, including the sublime but subdued 14-minute title tune) and vibraphonist Bobby Hutcherson. Unlike some guitarists, Green never tried to overpower the listener with elaborate or flashy runs but preferred to pick out single-note melodies that stayed within the boundaries of good taste. In an agé when big bánds were mostly éxtinct, the release óf The Complete Atómic Basie marked á resurgence in thé fortunes of thé debonair pianist fróm Red Bank, Néw Jersey.
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