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Davis' most well-known fusion album. Very influential to both rock and jazz, with a band comprised of the founders of many of the definitive fusion bands of the 70s, including Chick Corea, Joe Zawinul, Wayne Shorter, and John McLaughlin.
A compilation true to its name, this album was essentially the beginning of cool jazz, a modern style of jazz combining the arrangements of big band with the harmonic sophistication of bebop. As usual, Miles' band is comprised of significant musicians such as Gerry Mulligan, John Lewis, Max Roach and Lee Konitz
Absolutely essential jazz, one of the few albums of any genre that has ascended to mythical status. Very influential in the development of modal jazz and postbop, played expertly by musicians who would go on to become tremendously influential in their own right, including Bill Evans, Cannonball Adderley and John Coltrane.
What many consider to be Miles' first true fusion album, In A Silent Way predated Bitches Brew by about six months. In contrast to Bitches Brew's aggressive, occasionally dissonant sound, In A Silent Way is an album that is mellow and atmospheric, while maintaining a driving force and heavily layered sound. Very similar line-up to Bitches Brew, though Tony Williams and Herbie Hancock of Miles' second great quintet are featured on here (both of whom created very influential fusion bands).
Coltrane's most famous and influential album from his years with Atlantic Records. The album is a very diverse mix of music, with modal jazz, ballads and groud-breaking bebop, all of which is played equally well by Coltrane. "Giant Steps" and "Countdown" both feature the Coltrane Changes, an advanced harmonic chord system that is still influential to jazz musicians. Coltrane is backed by Tommy Flanagan on piano, Paul Chambers on bass and Art Taylor on drums.
Coltrane's most famous album from his Impulse years, if not his most famous album period. Coltrane dedicated this album to God, and the spiritual concept elevates the music to a place few musicians have reached. Combining elements of free jazz, bebop and Eastern music, this is a sprawling epic of jazz music that is as powerful as it is virtuosic. Features Coltrane's classic quartet of McCoy Tyner, Jimmy Garrison and Elvin Jones.
One of the best selling fusion albums, this is a very funky and accessible album by Miles alumni Herbie Hancock. Features excellent electric piano and synth playing from Hancock and great horn work from Bennie Maupin. The tightness of Harvey Mason's drumming and Paul Jackson's basslines are the definition of "in the pocket."
A postbop album indebted to Herbie's boss at the time, Miles Davis. Featuring the rhythm section of Miles' band, this has a very similar feel to his mid-60s records, but Hancock makes it his own with his unique and forward-thinking compositions. The rhythm work is impeccable throughout, and the solo work from Hancock, Freddie Hubbard and George Coleman show just how far an expert jazz musician can stretch the boundaries of a song.
Brubeck's most popular album now, it was initially seen as an unsuccessful experiment in pushing the rhythmic boundaries of jazz. The album's drum feature, "Take Five" became a surprise Top 40 hit and the album became a best seller. Most songs feature time signatures unusual to jazz, such as 3/4, 5/4 and a atypically subdivided 9/8. A defining album of the West Coast jazz sound.
Dolphy is often mislabeled as a free jazz musician, but the conciseness of these compositions prove that his music was often very exact and calculated, despite however "out there" as it may have seemed. This is one of the classic Blue Note albums, a milestone in avant-garde jazz. Dolphy is backed by a heavyweight group, with Tony Williams, Freddie Hubbard, Bobby Hutcherson and Richard Davis. A very collaborative group with amazing interplay.
One of Monk's last albums, still filled with the Monk quirkiness that he had throughout his recorded career. Monk's highly percussive playing and use of tonal clusters and dissonance have caused some to question his technical ability as a soloist, but no one has questioned his incredible compositional skills. One of the greatest composers in the history of jazz. This album features a good overview of his career, with old mainstays from the 40s as well as new compositions from his later years.
Recorded in 1957 when big band was nearly a forgotten relic, this is a powerful set that proves that Basie and his band was still as tight as they were at their commercial peak twenty years previous. Though the album doesn't feature any of the songs that Basie is most well known for ("One O'Clock Jump," "Lester Leaps"), it still features excellent arrangments and soloing from Basie's tremendous band.
Another classic Blue Note album, most well known for its title track. Originally planned as a normal length jazz song, the musicians and engineers got so lost in the music that the track ended up being nearly fifteen minutes long. A very mellow and well-played hard bop record, lead by the undersung jazz guitarist Grant Green. Also features Bobby Hutcherson and Joe Henderson.
