Category Archives: Lists

Johnny Cash: A Guide to the Music of The Man in Black

A list by Syd Fablo and Bruno Bickleby

Introduction

Born: February 26, 1932, Kingsland, AR, United States
Died: September 12, 2003, Nashville, TN, United States

Continue reading Johnny Cash: A Guide to the Music of The Man in Black

The Shape of Jazz to Come: A Guide to the Music of Ornette Coleman

A guide by Syd Fablo, Bruno Bickleby, and Patrick.

Introduction

 

This is a guide to the music of Ornette Coleman.  Albums are listed chronologically by recording date, broken down into multiple periods of his life and career and supplemented with biographical information.  Outtake and various artists collections are shown indented and with smaller font and images.  Bootlegs are listed, indented, but images and details are provided for only a few selected bootlegs that are of particular significance.  Guest and sideman appearances are listed separately toward the end.  Book, film/video/TV, and web site resources about or featuring Ornette are listed at the end.  The authors also provide curators’ picks and some other items of interest at the end.  While there are some compilations and box sets of Ornette’s work available, note that (with one exception) most focus on only a narrow period of time or are explicitly record label specific — the most significant of the label-specific ones being Beauty Is a Rare Thing: The Complete Atlantic Recordings.  It is somewhat unfortunate that many of Coleman’s recordings are currently out of print.  Moreover, unlike the deluge of archival, outtake and bonus material issued for certain other famous musical contemporaries of Ornette, there has been comparatively little of such material by him officially released to date.


A Brief Biography

 

Birth Name: Randolph Denard Ornette Coleman

Born: March 19, 1930 (or possibly March 9, 1930), Fort Worth, TX.

Died: June 11, 2015, New York, NY.

Ornette received almost no formal musical training, and was a noted autodidact.  Reports of him being unable to read music are often exaggerated in order to present him as a kind of primitive musical savant, rather than as someone from humble roots who willfully bucked convention.  Though he began playing music professionally while still a teenager, it was not until he was in his late 20s that he recorded as a bandleader and he was almost 30 years old before he found success as a solo act — rather late by typical jazz standards.  His music was resisted and disliked by many, but he showed an uncommon amount of “grit” in sticking with it despite adversities and setbacks.  Listeners tend to have a “love him or hate him” sort of reaction.  Usually described as shy (i.e., introverted), he also struck many as an unusual guy for his mannerisms and outlook on life.  He eventually developed his own musical theory that he dubbed “Harmolodics”, which he insisted can be applied to how one conducts their own life and to other artistic forms.  Often he described himself as a composer who performs.  “Lonely Woman” was his first “Harmolodic” composition, and is perhaps his best-known song.  One-time collaborator Pat Metheny said about him, “Ornette is the rare example of a musician who has created his own world, his own reality, his own language – effective to the point where emulation and absorbtion [sic] of it is not only impossible, it is simply too daunting a task for most musicians to even consider.”  His career (and fortunes) ebbed and flowed, with periods of intense activities and long stretches of public inactivity.  He nonetheless came to be regarded as one of America’s greatest musical innovators.  He also had a considerable art collection, and partly due to those interest notable contemporary artworks were reproduced on many of his albums, on the cover, back and/or inserts.  At least after achieving career success, he was a dapper dresser, often wearing brightly colored custom made suits.  His sister Truvenza (Trudy) Coleman also had a musical career, though she did not work with her brother professionally.


Legend

🎷🎷🎷 = top-tier; an essential

🎷🎷 = second tier; enjoyable but more for the confirmed fan; worthwhile after you’ve explored the essentials and still want more

🎷 = third tier; a lesser release, for completists only



Continue reading The Shape of Jazz to Come: A Guide to the Music of Ornette Coleman

Listen to This: A Guide to The Red Crayola/Red Krayola

Introduction

The Red Crayola on Forty-FiveThis here be a guide to the recorded music of The Red Crayola/Red Krayola — abbreviated as RC or RK.  Releases are arranged chronologically by recording date (not release date), broken up into rough “eras”.  The groupings correspond to major shifts in the geographic location of the band.  A legend is provided, as are recording credits, where available.

A Brief History

The Red Crayola (sometimes spelled “The Red Krayola”) are an exceptionally long-lived rock band.  Their origins were in the psychedelic mid-/late-1960s, formed in Texas by university students engaged with the burgeoning countercultural movement.  The band broke up and reformed, and then effectively dissolved by the end of the 1960s.  But Mayo Thompson, who worked in the visual arts (he was an assistant to Robert Rauschenberg) and also dabbled with a solo career, resurrected the band name in the mid-1970s.  For about fifty years Thompson continued the band in various incarnations across different continents.  In the later 70s and through all of the 80s, the band was based out of Europe, then returned to the United states permanently in the early 90s.  The always band fit into the musical “underground”, and was never about commercial success.  Mayo Thompson endorsed one critic’s description of the band’s music as “not practical”.  Actually, the band’s political outlook became explicitly leftist/communist.  But they tended to rely on wacky, dadaist humor and “performance art” techniques, eschewing virtuoso performance.  The band frequently emphasized equal sharing of credit, regardless of contributions, so many releases intentionally do not credit individual songwriters, or even which musicians appear on which songs playing which instruments (a practice that ended only with Introduction in 2006).  This was part of an over-arching inclusionist sensibility.


Continue reading Listen to This: A Guide to The Red Crayola/Red Krayola

Don’t Believe the Hype: A Guide to Public Enemy

Welcome to a humble guide to the music of Public Enemy, one of the most iconic, innovative, and long-running hip-hop groups in history.  This guide focuses on albums, rather than singles.  Links to other resources are provided at the end.  Credits listed below are accurate to a point; the band tended to skip attribution — and often intentionally obfuscate — who contributed to producing individual tracks and entire albums.  Information on available releases is current for the United States as of early 2016, and focuses on physical formats.


A Brief History

Public Enemy (PE), formed in “Strong Island” [Long Island], NY, in 1982, emerged at the forefront of “conscious” or “positive” hip-hop.  Biographer Tim Grierson wrote, they had “little interest in the materialism and bloodshed that had quickly become two of [hip-hop’s] major selling points.”  Instead, PE wrote songs mostly about political and social topics.  At the same time their music earned a reputation for being dense and hard, as in the most densely layered in all of hip-hop.  At the peak of their fame in the late 1980s and early 1990s, they were deemed controversial by some — partly a conscious strategy —  and became embroiled in quite a few scandals — some deserved and some not.  As much as they tried to make intelligent music, sometimes looking back it doesn’t seem as intelligent as it aims to be (though usually it is).  They have survived for decades, innovated hip-hop music and various music production and distribution techniques, and fallen off from widespread public consciousness in later years.  Chuck D has engaged in various other projects, from speaking at conferences to TV hosting and more, and Flavor Flav starred in a number of “reality” TV shows (“The Surreal Life,” “Strange Love,” and “Flavor of Love”), a short-lived sitcom (“Under One Roof”) and launched some restaurants (he is a trained chef) that quickly closed.  Chuck D has maintained an anti-drugs (including anti-alcohol) approach, though Flavor Flav has had many drug abuse problems and his TV appearances are rather at odds with the core of Public Enemy’s artistic stance.  And yet, given that Chuck D has said that Flavor Flav “is the street,” the group’s willingness to include someone from a different sort of background faced with attendant challenges is worthy of respect.  The group was (and is) more than just Chuck (the MC) and Flavor (the hype man), though a self-serving (unaccountable and even hypocritical) opacity falls across much of their work as to who is involved (or not involved) in actually making the music on recordings — the credits that follow are accordingly incomplete.  There have been falling-outs, bitter rivalries, members ejected then later brought back, new members absorbed — accounts of those happenings vary widely and former members disagree with a few of the “official” accounts.  Technically, Chuck D and Flavor Flav are the band, in terms of who signs the contracts, and the others are their employees.  Professor Griff was forced out in the early 1990s, but he returned seven years later.  Hank Shocklee was perhaps the major innovator in terms of producing the beats on records from the band’s peak, though a combination of legal issues related to sampling, theft of the vinyl the band used for samples, and differences of opinion about whose contributions made the band successful, he left in the early 1990s.  Whether directly related or not, the band only briefly maintained both commercial and critical appeal following that split.  And despite all this PE has made good music decades after they formed.  Most interestingly, they have taken bold steps to maintain independence from the corporate, major-label music world while still touring and recording.  There are few hip-hop acts as long-lived or as deeply beloved by fans.



Legend:

⊕⊕⊕ = top-tier; an essential
⊕⊕ = second-tier; enjoyable but more for the confirmed fan; worthwhile after you’ve explored the essentials and still want more
⊕ = third-tier; a lesser album, for completists, with perhaps only one or so notable songs


Continue reading Don’t Believe the Hype: A Guide to Public Enemy

Power to the People and Beats: The Best of Public Enemy Mix

Public EnemyA virtual playlist of the best of Public Enemy, configured to fit on four CDs.  These aren’t just the obvious choices, though most of those are here too.

 

 

Disc 1

It Takes a Nation of Millions to Hold Us Back (1988) (the album in its entirety)

Disc 2

Fear of a Black Planet (1990) (the album in its entirety)

Disc 3
  1. “Can’t Truss It” from Apocalypse 91…The Enemy Strikes Black (1991)
  2. “Hazy Shade of Criminal” from Greatest Misses (1992)
  3. “By the Time I Get to Arizona” from Apocalypse 91…The Enemy Strikes Black (1991)
  4. “I Don’t Wanna Be Called Yo Niga” from Apocalypse 91…The Enemy Strikes Black (1991)
  5. “Nighttrain” from Apocalypse 91…The Enemy Strikes Black (1991)
  6. “Whole Lotta Love Goin on in the Middle of Hell” from Muse Sick-n-Hour Mess Age (1994)
  7. “Live and Undrugged Part 1 & 2” from Muse Sick-n-Hour Mess Age (1994)
  8. “Bedlam 13:13” from Muse Sick-n-Hour Mess Age (1994)
  9. “Revolverlution” from Revolverlution (2002)
  10. “Say It Like It Really Is” from The Evil Empire of Everything (2012)
  11. “World Tour Sessions” from There’s a Poison Goin On…. (1998)
  12. “Shut Em Down (Pe-te Rock Mixx)” (1991) (single)
  13. “He Got Game” from He Got Game (1998)
  14. “Give It Up” from Muse Sick-n-Hour Mess Age (1994)
  15. “Harder Than You Think” from How You Sell Soul to a Soulless People Who Sold Their Soul??? (2007)
  16. “I Shall Not Be Moved” from Most of My Heroes Still Don’t Appear on No Stamp (2012)
  17. “Don’t Give Up the Fight” from The Evil Empire of Everything (2012)
  18. “Electric Slave” from Beats and Places (2006)
Disc 4
  1. “Me to We” from Man Plans God Laughs
    (2015)
  2. “Gotta Do What I Gotta Do” from Greatest Misses (1992)
  3. “I” from There’s a Poison Goin On…. (1998)
  4. “Escapism” from How You Sell Soul to a Soulless People Who Sold Their Soul??? (2007)
  5. “See Something, Say Something” from How You Sell Soul to a Soulless People Who Sold Their Soul??? (2007)
  6. “… Everything” from The Evil Empire of Everything (2012)
  7. “Watch the Door (Warhammer on Watch Mixx)” from Bring That Beat Back: The Public Enemy Remix Project (2006)
  8. “As Long As the People Got Something to Say” from New Whirl Odor (2005)
  9. “Yo! Bum Rush the Show” from Yo! Bum Rush the Show (1987)
  10. “Public Enemy No. 1” from Yo! Bum Rush the Show (1987)
  11. “Catch the Thrown” from Most of My Heroes Still Don’t Appear on No Stamp (2012)
  12. “Truth Decay” from Most of My Heroes Still Don’t Appear on No Stamp (2012)
  13. “Hoovermusic” from Most of My Heroes Still Don’t Appear on No Stamp (2012)
  14. “Black Steel in the Hour” from Live From Metropolis Studios (2015)
  15. “What Good Is a Bomb” from Revolverlution (2002)
  16. “Honky Talk Rules” from Man Plans God Laughs
    (2015)
  17. “Like It Is” from Beats and Places (2006)

Willie Nelson: Singing and Smoking

The Sound in Your MindWhat follows is a collection of Willie Nelson‘s greatest recordings, organized as a virtual “best of” playlist that would fit on four CDs.  Most of the big hits are here, plus overlooked deep album tracks and a few live versions.  There is more to Willie than just what is presented here, but this at least gives a sense of the man’s talents. [Updated as of Oct. 2017]

Disc 1:
  1. “Crazy” …And Then I Wrote (1962)
  2. “Family Bible” Yesterday’s Wine (1971)
  3. “Me and Paul” (1971); Yesterday’s Wine (1971)
  4. “Shotgun Willie” (1973); Shotgun Willie (1973)
  5. “Whiskey River” Shotgun Willie (1973)
  6. “Bubbles in My Beer” Shotgun Willie (1973)
  7. “Washing the Dishes” Phases and Stages (1974)
  8. “Walkin'” Phases and Stages (1974)
  9. “Bloody Mary Morning” (1974); Phases and Stages (1974)
  10. “Blue Eyes Crying in the Rain” (1975); Red Headed Stranger (1975)
  11. “That Lucky Old Sun (Just Rolls Around Heaven All Day)” The Sound in Your Mind (1976)
  12. “Can I Sleep in Your Arms?” Red Headed Stranger (1975)
  13. “I’d Have to Be Crazy” (1976); The Sound in Your Mind (1976)
  14. “If You’ve Got the Money I’ve Got the Time” (1976); The Sound in Your Mind (1976)
  15. Willie Nelson & Waylon Jennings – “I Can Get Off on You” Waylon & Willie (1978)
  16. “On the Road Again” (1980); Honeysuckle Rose (1980)
  17. “Mamas Don’t Let Your Babies Grow Up to Be Cowboys” The Electric Horseman (1979)
  18. “Georgia on My Mind” (1978); Stardust (1978)
  19. Merle Haggard & Willie Nelson“Opportunity to Cry” (1983); Pancho & Lefty (1982)
  20. “Always on My Mind” (1982); Always on My Mind (1982)
  21. “Is the Better Part Over” A Horse Called Music (1989)
  22. “My Love for the Rose [track 1]” Tougher Than Leather (1983)
  23. “American Tune” Across the Borderline (1993)
  24. “Ou es-tu, mon amour?” Teatro (1998)
  25. “Matador” Spirit (1996)
  26. “I Never Cared For You” Single (1964)
Disc 2:
  1. “Hello Walls” …And Then I Wrote (1962)
  2. “Undo the Right” …And Then I Wrote (1962)
  3. “I Gotta Get Drunk” Crazy: The Demo Sessions (2003)
  4. “Columbus Stockade Blues” (1966); Country Favorites – Willie Nelson Style (1966)
  5. “The Party’s Over” (1967); The Party’s Over and Other Great Willie Nelson Songs (1967)
  6. “Yesterday [live]” Live Country Music Concert (1966)
  7. “Help Me Make It Through the Night” The Willie Way (1972)
  8. “Happiness Lives Next Door” Naked Willie (2009)
  9. “London” The Words Don’t Fit the Picture (1972)
  10. “A Penny For Your Thoughts” The Sound in Your Mind (1976)
  11. “Devil in a Sleepin’ Bag” (1973); Shotgun Willie (1973)
  12. “Uncloudy Day” (1976); The Troublemaker (1976)
  13. “Railroad Lady” To Lefty From Willie (1977)
  14. “The Healing Hands of Time” The Sound in Your Mind (1976)
  15. “Till I Gain Control Again [live]” Willie and Family Live (1978)
  16. “A Song for You [~live]” Honeysuckle Rose (1980)
  17. “Buddy” The IRS Tapes: Who’ll Buy My Memories? (1992)
  18. “Summer of Roses/December Day” Tougher Than Leather (1983)
  19. “We Don’t Run” Spirit (1996)
  20. “Good Hearted Woman [live]” A Classic & Unreleased Collection [Willie Nelson Live at the Texas Opry House] (1994)
  21. “Darkness on the Face of the Earth” Teatro (1998)
  22. “Beer for My Horses (with Toby Keith) [live]” Live and Kickin’ (2003)
  23. “Songbird” (2006); Songbird (2006)
  24. “You’ll Never Know” Let’s Face the Music and Dance (2013)
  25. “Rainbow Connection” Rainbow Connection (2001)
  26. “This Old House” Remember Me, Vol. 1 (2011)
Disc 3:
  1. Paul Buskirk and His Little Men Featuring Hugh Nelson“Nite Life” Single (1960)
  2. “Man With the Blues” Single (1959)
  3. “Misery Mansion” Single (1960)
  4. “Permanently Lonely” Crazy: The Demo Sessions (2003)
  5. “One Day at a Time” Country Willie – His Own Songs (1965)
  6. “The Local Memory” Crazy: The Demo Sessions (2003)
  7. “Darkness on the Face of the Earth” Country Willie – His Own Songs (1965)
  8. “What Do You Think of Her Now” Crazy: The Demo Sessions (2003)
  9. “Seasons of My Heart” Country Favorites – Willie Nelson Style (1966)
  10. “The Last Letter/Half a Man [live]” Live Country Music Concert (1966)
  11. “Good Times”; Good Times (1968)
  12. “Pins and Needles (In My Heart)” Both Sides Now (1970)
  13. “Mountain Dew”; The Willie Way (1972)
  14. “Stay Away From Lonely Places” The Words Don’t Fit the Picture (1972)
  15. “Sad Songs and Waltzes”; Shotgun Willie (1973)
  16. Tracy Nelson – “After the Fire Is Gone” A Classic & Unreleased Collection (1994)
  17. “Red Headed Stranger” Red Headed Stranger (1975)
  18. “You Show Me Yours (And I’ll Show You Mine)” Willie Nelson Sings Kristofferson (1979)
  19. “Loving Her Was Easier (Than Anything I’ll Ever Do Again)” Willie Nelson Sings Kristofferson (1979)
  20. “Angel Flying Too Close to the Ground” Single (1980)
  21. “Just One Love” Just One Love (1995)
  22. “I Guess I’ve Come to Live Here In Your Eyes” Spirit (1996)
  23. Willie Nelson / Merle Haggard“Somewhere Between” Django and Jimmie (2015)
  24. “(The) Most Unoriginal Sin” Across the Borderline (1993)
  25. U2 – “Slow Dancing (Feat. Willie Nelson)” If God Will Send His Angels Single (1997)
Disc 4:
  1. “Opportunity to Cry” Crazy: The Demo Sessions (2003)
  2. “Funny How Times Slips Away” …And Then I Wrote (1962)
  3. “Half a Man” Here’s Willie Nelson (1963)
  4. “Yesterday’s Wine”; Yesterday’s Wine (1971)
  5. “Crazy Arms” Both Sides Now (1970)
  6. “One Step Beyond” The Words Don’t Fit the Picture (1972)
  7. “Sister’s Coming Home / Down at the Corner Beer Joint” Phases and Stages (1974)
  8. “I Never Cared for You [live]” Live Country Music Concert (1966)
  9. “I Love You a Thousand Ways”; To Lefty From Willie (1977)
  10. “Time of the Preacher Theme [0:26]” Red Headed Stranger (1975)
  11. Willie Nelson & Waylon Jennings – “It’s Not Supposed to Be That Way” Waylon & Willie (1978)
  12. “Golden Earrings” Without a Song (1983)
  13. “Home Motel [Hotel]” The IRS Tapes: Who’ll Buy My Memories? (1992)
  14. “Pretend I Never Happened” The IRS Tapes: Who’ll Buy My Memories? (1992)
  15. The Highwaymen – “Pick Up the Tempo” The Road Goes on Forever: 10th Anniversary Edition (2005)
  16. “I’ve Loved You All Over the World” Teatro (1998)
  17. “The Maker”; Teatro (1998)
  18. “Spirit of E9″ ” Spirit (1996)
  19. “I’m Not Trying To Forget You Anymore” Spirit (1996)
  20. “From Here to the Moon and Back (with Dolly Parton)” from …To All the Girls (2013)
  21. “But Not For Me” Summertime: Willie Nelson Sings Gershwin (2016)
  22. Willie Nelson / Merle Haggard“Django and Jimmie” Django and Jimmie (2015)
  23. “I’m a Worried Man (featuring Toots Hibbert)” Countryman (2005)
  24. “Why Baby Why” Remember Me, Vol. 1 (2011)
  25. “Heartaches By the Numbers” For the Good Times: A Tribute to Ray Price (2016)
  26. “Roly Poly” Here’s Willie Nelson (1963)

Nina Simone

Nina Simone was an enigma.  She is often described as a jazz singer.  She wasn’t one of consequence.  Stack her next to an actual jazz singer and this becomes pretty clear.  She developed a reputation as an artist with moral integrity.  Yet that reputation wears thin when looking at how many misguided concessions to pop fads are littered all through her recording career.  Much is made of her bitter break from Euro-classical music early in life.  Denied entry to a conservatory (The Curtis Institute of Music) as a pianist, she turned to singing in lounges.  Little of her piano playing impresses on her own recordings, though it can be effective in accompaniment.  But when you hear her voice on a good recording, she definitely had something special.  Singing may not have been her desire, but it was her great talent.  Sometimes talents choose their medium, rather than the other way around.  She was often at her best when adding a rough blues or gospel or jazz inflection to burningly austere chamber pop songs.  She was sort of a gothic shadow cast from commercial pop.  It was the tone of her voice that embodied a palpable sense of anger that drove so much of it.  Close listening doesn’t reveal much clarity in her rhythmic phrasing, her control of vibrato, her pitch range, or even her use of melisma.  All that aside, she had the power to deliver songs as if saying, with a firm scowl, “I will sing this song and I will make you remember it.”  The single-minded resolve to put her own identity into her music is fiercely determined.  This makes the greatest impression on the material that resists that approach.  When she worked with jazzy orchestral backing, as was a prevailing style for a time during her long career, the resistance to her identity could be too much.  When she played straight blues or even militant soul and R&B, there was nothing really working against her identity to put up any challenge.  She reversed her formula and added formal pop technique to rougher electric soul and R&B, and it came across as a reflection of her limitations rather than her positive talent.

What follows is a long yet incomplete set of brief reviews of her albums.  This is limited to what I’ve heard, which does not include anything from her time with Colpix Records.  Continue reading Nina Simone

Collection of Modern Jazz

Collection of Modern JazzWelcome to a “virtual” compilation album of jazz from 1960 to 2009, intended to be an introduction to jazz music from that time period for anyone with an interest.  It is generally meant to be a follow-up to a compilation like The Smithsonian Collection of Classic Jazz, with a focus on a later time period.  In moving into more modern periods of jazz history, the listening experience can be more challenging for many because there begin to be marked departures from familiar modes of musical practice.  With regard to literary practice, the Russian Formalist Viktor Shklovskii wrote of “laying bare the device” and the technique of “defamiliarization” (or “estrangement”), which are key elements underlying most modernist art movements that, as a general rule of thumb, all rely on a fairly high degree of audience sophistication.  The same holds for modern jazz.  The music here does get quite challenging at times, and is more along the lines of serious, intensive listening music than casual background or dance music.  That is as much a reflection of trends in music history as a reflection of choices among the trove of great recordings that could easily replace the selections here.  Every effort has been made to take that into consideration in keeping the overall set as accessible as possible for relatively novice listeners, but without shying away from important recordings that make for challenging listening.  All that said, listening to this compilation should probably be prefaced with some understanding of the roots of jazz prior to 1960.  The criteria in making selections has been to attempt a reasonable sketch of the musical innovations of modern jazz, with attention also paid to historical trends in the sense of well-known sub-genres.  Songs — and some artists — already represented on other compilations like The Smithsonian Collection, have been excluded here to avoid redundancy.  It is important to note that this compilation does not track only popular, heavily marketed trends in a rote manner, and so anyone who believes the mainstream account that “jazz just died” at some time in the 1970s should probably look elsewhere for a more sanitized overview that pretends jazz hasn’t kept on surviving at a smaller scale via independent, underground, and publicly-subsidized outlets.

This collection is arranged roughly in chronological order by recording date, though it is not strictly chronologically arranged.  For each song selection, the songwriting credits, first release, recording date/location, and personnel are listed to the greatest extent possible, though precise information is not available in every case.  Compiler’s notes are given for each selection as a guide for those seeking clues as to suggested musical elements to listen for, as well as to provide reasons for the inclusion of certain tracks.  This collection is not comprehensive and exhaustive, of course, and so it does make some omissions of many great and worthy artists and recordings.  Moreover, numerous popular movements like “smooth jazz” and “acid jazz” are not represented, as some argue those are not properly called “jazz” at all, at least in the sense that their audiences tend to be outside those historically associated with jazz as such.  In order to allow a greater number of different recordings to be represented, while still allowing the collected material to hypothetically fit on a reasonable number of compact discs, many selections are presented in edited form.  While those selections deserve to be heard in their complete form, the difficult decision to present edited version seemed necessary given the length of most modern jazz recordings.  In earlier eras jazz musicians were limited by recording formats that only offered a few minutes worth of recording time.  With technological advances, recordings could be made of indefinite duration.  Many musicians have taken advantage of that fact.  With the advent of digital music, listeners programming this collection electronically can perhaps ignore the suggested time edits, which are merely a byproduct of the limitations of physical media.

Anyway, the primary objective of this collection is to serve as an educational tool to introduce new listeners to modern jazz.  It is hoped this will be a a launching pad for the exploration of the wide and varied interstellar universe of modern jazz.  It is hoped that listeners will follow up a careful review of this collection with explorations of other jazz music.  The personnel lists, record label listings and compiler’s notes hopefully provide some suggestions for additional listening.  But don’t stop there.  For more introductory jazz resources, see Jazz Resource Guide. Continue reading Collection of Modern Jazz