Herbie Hancock/Flood (1975)

One of the masterpieces by Herbie Hancock with his jazz-funk/fusion band, the Headhunters, in his 1970s electric/funk period. Recorded live in Tokyo (Shibuya Koukaido and Nakano Sun Plaza) in 1975, and initially released only in Japan. The first track is an acoustic solo of "Maiden Voyage", but other tracks are sharp funk performances, including his famous pieces such as "Watermelon Man" and "Chameleon", with tight rhythm section (Paul Jackson on bass, Mike Clark on drums and others). A must-have for funk listeners.

Dizzy Gillespie/At Newport (1957)

An impressive performance by a jazz trumpeter, Dizzy Gillespie's third big band (formed in 1956) at the peak (Verve). Happy and enthusiastic performance featuring Benny Golson on tenor sax, Wynton Kelly on piano, Al Grey on trombone, Billy Mitchell on tenor sax, Lee Morgan on trumpet, and others. "Manteca" is a masterpiece of Afro-Cuban jazz, composed by Dizzy Gillespie. "A Night in Tunisia", a great piece with an exotic atmosphere, is his most famous composition known as a jazz standard. Live recording at Newport Jazz Festival, on July 6, 1957.

Thelonious Monk with John Coltrane (1957)

Precious studio recordings (Riverside) of Thelonious Monk (piano) with John Coltrane (tenor saxophone). Thelonious Monk Quartet featuring John Coltrane, which inspired Coltrane's "Sheets of Sound", only recorded three studio tracks of this disc, "Ruby, My Dear", "Trinkle, Tinkle" and "Nutty". "Trinkle, Tinkle" is a tension-filled, great performance featuring Coltrane's blazing imprvisatons in Monk's mathematical, complicated music structure.

The Tony Williams Lifetime/Emergency! (1969)

The debut album of the Tony Williams Lifetime, the trio formed by a jazz drummer Tony Williams (ex-member of the Miles Davis Quintet) with John McLaughlin (later formed the Mahavishnu Orchestra) on guitar and Larry Young on organ. The sound with distorted guitar and organ is like psych rock or avant-garde prog-rock. One of the most influential albums of the late 1960s early fusion/jazz-rock.

John Coltrane/Africa/Brass (1961)

An American jazz saxophonist, John Coltrane's debut for the Impulse! label. Modal jazz with massive sound, by his quartet, John Coltrane (soprano/tenor saxes), McCoy Tyner (piano), Reggie Workman (bass) and Elvin Jones (drums), and backed by a brass band featuring Freddie Hubbard (trumpet), Booker Little (trumpet), Eric Dolphy (alto sax, flute, bass clarinet) and others. "Africa" is his first tune with the motif of Africa or African music. "Greensleeves" is based on the English folk song of the same title. The orchestra conducted by Eric Dolphy. The 2-CD set, 'The Complete Africa/Brass Sessions' (including alternate takes and previously unissued recordings) is also available.

Charlie Christian/The Genius of the Electric Guitar (1939-1941)

An American jazz guitarist who established the style of playing the electric guitar as a melody instrument by playing it solo on a single tone in the swing jazz era, just before the birth of bebop jazz, and greatly influenced not only jazz after bop, not also blues, rock and popular music in general. A compilation album which includes his essential recordings with the Benny Goodman Sextet and Orchestra in 1939-1941, such as "Seven Come Eleven", "Royal Garden Blues" and "Blues In B". The three bonus tracks, "Stompin' At the Savoy", "Topsy (Swing To Bop)" and "Honeysuckle Rose (Up On Teddy's Hill)" are taken from the legendary jam sessions at Minton's Playhouse in New York in May 1941. A must have for any jazz guitar fans, especially those who love Wes Montgomery.

Lennie Tristano/Lennie Tristano (1955)

One of major recordings of Lennie Tristano, a Chicago-born, blind white jazz pianist, who performed in the cool jazz, bebop, post bop and avant-garde jazz, and known for his unique, contrapuntal and harmonical music theory (Atlantic Records, 1955). The first four tracks are famous for its innovative experiments of overdubbing and picking up the tape-speed. Especially "Line Up" and "Turkish Mambo" are deep and tensive. The last five tracks are live recordings featuring his disciple Lee Konitz (alt sax) and more relaxed.

Keith Jarrett/The Melody at Night, With You (1997)

His first collection of standards by solo piano (ECM). Recorded in his New Jersey home studio in 1997, after he recovered from chronic fatigue syndrome. Tranquil, romantic and beautiful performances featuring the simple melodies of the originals. George Gershwin's "I Loves You Porgy" and "Someone To Watch Over Me", Duke Ellington's "I Got It Bad And That Ain't Good", Oscar Hammerstein II and Jerome Kern's "Don't Ever Leave Me", Sammy Kahn's "Be My Love", traditional songs such as "My Wild Irish Rose" and "Shenandoah", and others.

Charles Mingus/The Black Saint and the Sinner Lady (1963)

One of Charles Mingus' recordings on Impulse! label. Avant-garde big band jazz with exotic and erotic atmosphere, featuring flamenco guitar breaks. Inspired by Duke Ellington's 'jungle music' and Spanish folk music. Composed as a six-part ballet suite and performed by a small orchestra (eleven-piece band). Mingus called 'ethnic folk-dance music'. The highlights are the multi-layered orchestrations by use of overdubbing technology.

Stan Getz-Charlie Byrd/Jazz Samba (1962)

A bossa nova album by saxophone player Stan Getz and guitarist Charlie Byrd. Released in the year before famous Stan Getz and João Gilberto's "Getz/Gilberto". The first full-fledged bossa nova album ever recorded by American jazz musicians. It had a commercial success (#1 on the US pop album charts) and became the beginning of the bossa nova craze in the US in the mid-1960s. Easy listening oriented jazz sound filled with melancholy lyricism. Includes two tracks composed by Antonio Carlos Jobim, a hit single "Desafinado" and "Samba de uma Nota So".

John Zorn/Spy Vs. Spy: The Music of Ornette Coleman (1988)

An American avant-garde saxophonist, John Zorn's hardcore punk-style interpretations of 17 tunes by Ornette Coleman, one of the free jazz pioneers. high-speed and high-density performances by 2 alto saxophones, 2 drums and bass: John Zorn and Tim Berne on saxophones, Joey Baron and Michael Vatcher on drums, and Mark Dresser on bass. Recommended to those who like John Zorn's Naked City or noise rock.

The Oscar Peterson Trio/We Get Requests (1964)

A 1964 studio session album (Verve) by the Canadian jazz pianist, Oscar Peterson's trio with Ray Brown (bass) and Ed Thigpen (drums). The tunes are mostly popular songs of the day, such as bossa nova songs "Corcovado" (Antonio Carlos Jobim) and "The Girl from Ipanema" (Antonio Carlos Jobim), a movie theme "Days of Wine and Roses" (Henry Mancini), musical songs "People" (Jule Styne) and "Have You Met Miss Jones?" (Richard Rodgers). Rhythmic and swingy performances with delicate and polite piano touches.

Jimmy Smith/Back at the Chicken Shack (1960)

A recording on the Blue Note label by an American jazz musician and organist known for his Hammond B-3 electric organ performances, Jimmy Smith (organ) with Stanley Turrentine (tenor saxophone), Kenny Burrell (guitar) and Donald Bailey (drums). Recorded with the same session as the hit album "Midnight Special". One of the funky and bluesey soul-jazz classics. Relaxing and easy to listen to.

Miles Davis/In a Silent Way (1969)

Recorded six years before 'Bitches Brew'. A pioneering recording in the fusion style with full-scale introduction of electric instruments. This was edited by Miles Davis and producer Teo Macero from a recording session featuring two electric pianos, organ and electric guitar. The musicians are Miles Davis (trumpet), Chick Corea (electric piano), Herbie Hancock (electric piano), Joe Zawinul (electric piano and organ), Dave Holland (bass), John McLaughlin (electric guitar), Wayne Shorter (soprano/tenor sax) and Tony Williams (drums). Cool and idyllic sound with picturesque calmness.

Kaoru Abe (Kaol Abe)/Partitas-Unfinished (Suisei Partita) (1973)

An isolated alto saxophonist who had worked in Japanese avant-garde jazz scene in the 1970s and died young at age 29 in 1978. After debuting in "Kaitai-teki Kohkan (New Direction)" (1970) with Masayuki Takayanagi (guitar), he had played with Motoharu Yoshizawa (bass), Yosuke Yamashita (piano), Toshinori Kondo (trumpet), Milford Graves (drums) and Derek Bailey (guitar). This is a solo album recorded in 1973 and released in 1981 as 2 LPs (later reissued as 2 CDs). A ferocious and dense free improvisation as if to attain the ultimate in alto saxophone playing speed. Recommended to those who like Albert Ayler and John Zorn.

Grant Green/Idle Moments (1963)

An American jazz guitarist known fot his earthy and bluesy guitar-playing and funky single-note melodies, Grant Green's great recording as a great leader on the Blue Note label, featuring Joe Henderson (tenor saxophone), Bobby Hutcherson (vibes), Duke Pearson (piano), Bob Cranshaw (bass) and Al Harewood (drums). The title track "Idle Moments" is an original composed by Duke Pearson and a dreamy tune in a very slow tempo. "Django" is a tune of the Modern Jazz Quartet (composed by John Lewis). An elegant hard bop guitar jazz masterpiece can be listened to in a relaxed manner.

Lee Morgan/The Sidewinder (1963)

A jazz trumpeter, Lee Morgan's huge selling album (Blue Note). #25 on the US Billboard 'pop' album charts. Played by two-horn quintet featuring Joe Henderson (tenor sax). The famous title track "The Sidewinder" is a funky blues number with eight beat rhythm and a soul-jazz classic. The other tracks are lightly swinging hard bop tunes.

Kenny Burrell/Midnight Blue (1963)

An American jazz guitarist, Kenny Burrell's good recording as a leader on the Blue Note label. A pianoless trio of Kenny Burrell (guitar), Major Holley (bass) and Bill English (drums) with Stanley Turrentine (tenor sax) and Ray Barretto (conga). Features blues in medium/slow tempo. Bluesy and swingy. Can be listened to in a relaxed manner. Includes "Chitlins con Carne", "Midnight Blue" and "Saturday Night Blues".

Art Tatum/1932-1934 (1932-1934)

Art Tatum is an American jazz pianist known for his superhuman technique (ultrahigh-speed stride playing). Sergei Rachmaninoff, Vladimir Horowitz, Artur Rubinstein and George Gershwin marveled at his genius. Likened by "a crazed Chopin" (Jean Cocteau) and "the eighth wonder of the world" (Count Basie). His very first recordings. Includes four piano accompaniments to female singer Adelaide Hall's songs and 21 piano solos. Features "Tiger Rag" (2 versions) and "Liza (All the Clouds'll Roll Away)".

Oliver Nelson/The Blues and the Abstract Truth (1961) *

An alto/tenor saxophonist, composer and arranger, Oliver Nelson's most acclaimed album. Features notable musicians such as Freddie Hubbard (trumpet), Eric Dolphy (flute, alto sax) and Bill Evans (piano). A contemporary interpretation of the traditional blues form. Unified ensemble. The solos of Dolphy and Evans are impressive. All the tracks composed and arranged by Oliver Nelson.

Charlie Parker and Dizzy Gillespie/Bird and Diz (1950)

A historic recording (Verve) of the two-headed quintet featuring two bebop founders, Charlie Parker (as) and Dizzy Gillespie (tp) with Thelonious Monk (p), Curly Russell (b) and Buddy Rich (ds). Cheerful and happy bebop jazz. Includes "Bloomdido", "Leap Frog" and "Mohawk". This is the only recording in which Parker played with Monk.

Sarah Vaughan/Crazy and Mixed Up (1982)

An American female jazz singer, Sarah Vaughan's masterpiece in her last days, recorded on Pablo label. Powerful voice with wide range, like opera singers. "Autumn Leaves" is a unique performance of famous jazz standard with only scatting and without melodies and lyrics. Featuring Joe Pass on guitar. "The Island" and "Love Dance" are covers of Brazilian musician, Ivan Lins' songs.

Mal Waldron/Left Alone (1959)

A pianist and Billie Holiday's regular accompanist during her last years (1957-1959), Mal Waldron recorded this album dedicated to Billie Holiday, when she died in 1959. The title track 'Left Alone' (very famous and popular in Japan) with altoist Jackie McLean is a melancholy torch song. Mal Waldron composed this song for her and she wrote the lyrics, but she had never recorded this song. The last sixth track is a short interview in which Mal Waldron talks about her. Other four tracks are performed by his trio with bassist Julian Euell and drummer Al Dreares.

Horace Silver/Blowin' the Blues Away (1959)

One of the albums recorded on Blue Note label by the American jazz pianist and composer, Horace Silver with his regular quintet (trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Louis Hayes) after he left the Jazz Messengers with Art Blakey. A great blues/gospel-based funky hard bop/soul jazz album. All the tunes are Horace Silver's originals. Features "Blowin' the Blues Away", "Peace" and "Sister Sadie".

Sonny Clark Trio/Sonny Clark Trio (1957)

The trio of Sonny Clark (piano), Paul Chambers (bass) and Philly Joe Jones (drums) on Blue Note. Melodic hard bop with delicate touch and swinging rhythm. Mainly standards such as "I Didn't Know What Time it Was", "Softly, As in a Morning Sunrise" and "I'll Remember April". Relaxed performances.

Dexter Gordon/Go! (1962)

The tenor saxophonist Dexter Gordon's good hard bop album recorded on Blue Note label. The melodic, sonorously singing improvisations and ballads in an unhurried rhythm. Sonny Clark's light and rhythmic piano is good too.

Al Di Meola/Elegant Gypsy (1976-1977)

The American jazz guitarist who had joined Chick Corea's band, Return to Forever, Al Di Meola's second album as a leader. Rock/Latin-oriented fusion with virtuosity of lightning-fast electric guitar playing. The third track "Mediterranean Sundance" is an acoustic guitar duet with Spanish flamenco guitarist Paco de Lucia. Jan Hammer (keyboards), Anthony Jackson (electric bass), Lenny White (drums) and Steve Gadd (drums) joined. Recommended to hard rock/progressive rock listeners too.

George Benson/Breezin' (1976)

The American jazz guitarist/pop singer, George Benson's hit album (#1 on the US pop album charts). Pop/R&B-oriented fusion/crossover Jazz. The title track "Breezin'" is an instrumental cover of Bobby Womack's song. The hit song "This Masquerade" is a vocal number composed by Leon Russell. Produced by Tommy Lipuma. The orchestra arranged and conducted by Claus Ogerman.

Bill Frisell/Blues Dream (2001)

Jazz guitarist Bill Frisell's 2001 album as a leader. The quartet of Bill Frisell (electric/acoustic guitar), Greg Leisz (steel/slide guitar), David Piltch (bass) and Kenny Wollesen (drums) with 3 winds (trumpet, alto sax and trombone). Peculiarly distorted soundscape based on American traditional blues and country. Relaxed and encompassing sound. There are almost no jazz elements.

John Scofield/Hand Jive (1993)

A jazz guitarist, John Scofield's solo album with his regular group (Larry Goldings on organ and piano, Dennis Irwin on bass, Bill Stewart on Drums, Don Alias on percussion). Featuring tenor saxophonist Eddie Harris. Funky soul jazz. Bluesy guitar with distorted sound is pleasing.

John Zorn, George Lewis, Bill Frisell/News for Lulu (1987) *

A unique and contemporary interpretation of the hard bop compositions on the Blue Note in the late 1950s (Kenny Dorham, Hank Mobley, Sonny Clark and Freddie Redd), by the trio of John Zorn (alto sax), Gorge Lewis (trombone) and Bill Frisell (guitar), without piano, bass and drums. Condensed and concise performance. Coherent ensembles. Singular music like Dixieland jazz or avant garde/free Jazz.

Steve Coleman and Five Elements/World Expansion (1986)

An alto saxophonist and Brooklyn's M-Base (Macro-Basic Array of Structured Extemporization) school founder, Steve Coleman's early work. The second album on the JMT label. Pop-oriented funk with odd time signatures, featuring electric guitar, electric bass and vocals. Complex in rhythm, but easily accessible.

Joe Pass/Virtuoso (1973)

The first of the jazz guitarist, Joe Pass' unaccompanied guitar solo series 'Virtuoso' recorded on Pablo label. "Blues for Alican" is an original blues song. Other tracks are improvisations of famous standard numbers such as Cole Porter's "Night and Day", Victor Young's "Stella by Starlight", Morgan Lewis' "How High the Moon", Ray Noble's "Cherokee", and Jerome Kern's "All the Things You Are". Joe Pass' transcendental virtuosity is unbelievable, for he plays the melodies, rhythms (basslines) and harmonies with only one guitar (Gibson ES-175), like an orchestra.

Pat Metheny Group/Still Life (Talking) (1987)

Brazilian-flavored, pop-oriented crossover jazz with lots of voices and percussions. By the group featuring Pat Metheny (guitars) and Lyle Mays (piano, keyboards). Pretty comfortable sounds.

Pat Metheny Group/Pat Metheny Group (1978)

The first recording by the fusion band led by the guitarist Pat Metheny and keyboardist Lyle Mays (piano, synths, autoharp). Clear, refreshing and easy-listening oriented fusion sound. Melodic and lyrical tunes. Includes "San Lorenzo", "Phase Dance" and "Jaco".

Sun Ra and His Arkestra/Live at Montreux (1976) *

One of the 1970s great recordings by jazz pianist/band leader, Sun Ra and his big band 'Arkestra'. An avant-Garde sound space with miscellaneous elements such as swing, bop, free improvisations and African. Sun Ra's improvisations on piano, electronic organ and Moog synths are awesome. Recorded live at the Montreux jazz festival in Switzerland in 1976. The world's first release on CD in Japan in 2003.

Stanley Clarke/School Days (1976)

The great bass player who once had been a member of Chick Corea's fusion band Return to Forever. His fourth album. Funky and pop-oriented fusion/crossover Jazz with transcendental technique on acoustic and electric basses. Steve Gadd (drums), Raymond Gomez (guitar), George Duke (keyboards), David Sancious (keyboards), John McLaughlin (guitar) and others.

Charlie Haden & Pat Metheny/Beyond the Missouri Sky (Short Stories) (1996)

The first duet album by Charlie Haden (bass) and Pat Metheny (guitar). The duo of bass and acoustic guitar with overdubbed synths, guitars and keyboards. Simple and lyrical sounds. Ballads in slow tempo with beautiful melodies. Features Charlie Haden's 'First Song', Henry Mancini's 'Two for the Road', Jim Webb's 'The Moon is a Harsh Mistress', Roy Acuff's 'The Precious Jewel', and Ennio Morricone's 'Cinema Paradiso (main theme)'.

Charlie Haden/Liberation Music Orchestra (1969)

The jazz bassist, Charlie Haden's first album as leader. The musicians are the members of avant-garde jazz group Jazz Composer's Orchestra Association/JCOA, such as Carla Bley (piano) and Mike Mantler (trumpet). A political (antiwar, anti-nationalism) work that deals with the Spanish Civil War and the Vietnam War. "Song of the United Front" is an arrangement of the piece composed by Hanns Eisler. "El Quinto Regimiento/The Fifth Regiment", "Los Cuatro Generales/The Four Generals" and "Viva la Quince Brigada/Long Live the Fifteenth Brigade" are Spanish traditional songs with new lyrics. "Song for Ché" is a song dedicated to Che Guevara, the leader of Cuban guerrilla. "War Orphans" is a song by Ornette Coleman. A masterpiece like a bottom line of the 1960s free jazz. Arrangements by Carla Bley.

Return to Forever/Romantic Warrior (1976)

Jazz keyboard player Chick Corea's jazz-rock fusion band, Return to Forever's popular hit. A concept album on medieval times. Pop-oriented jazz-rock. Chick Corea (piano, electric piano, Moog synths, organ), Stanley Clarke (bass), Lenny White (drums) and Al Di Meola (guitar).

Weather Report/Heavy Weather (1976)

A fusion-jazz band led by Joe Zawinul (keyboards) and Wayne Shorter (sax). A best-selling album released after Jaco Pastorius (bass) officially joined. Pop-oriented sounds. Jaco's melodic and harmonic fretless bass is cool.

Yosuke Yamashita Trio/Chiasma (1975)

A bassless trio by Japanese jazz pianist Yosuke Yamashita (piano), Akira Sakata (alto sax) and Takeo Moriyama (drums). Avant-garde free jazz with physical aggressiveness like professional wrestling or fighting sports. A bit like Cecil Taylor, but more violent than Taylor. Recorded live at the 'Heidelberger Jazztage' (Heidelberg jazz festival) in Germany in 1975.

Jaco Pastorius/Jaco Pastorius (1975)

A virtuoso bassist who had great influence on the music scene, Jaco Pastorius' debut solo album. Innovative sounds of fretless electric bass with transcendental technique and harmonics. Herbie Hancock (piano, keyboards), Wayne Shorter (soprano sax), Sam & Dave (vocals) and other great members joined.

Toshiko Akiyoshi-Lew Tabackin Big Band/Kogun (1974)

Toshiko Akiyoshi is a Japanese female jazz pianist/composer/arranger who has made the US her home base after she had studied at Berklee College of Music during 1956-1959. The first recording by the orchestra co-led by flutist/tenor saxophonist, Lew Tabackin. Big band jazz like Duke Ellignton. The title track "Kogun" is a monumental piece of work that incorporated elements of traditional Japanese performing arts into big band jazz, featuring Japanese instruments and Noh chant.

Keith Jarrett/The Köln Concert (1975) *

Lyrical and beautiful improvisation of piano solo. More compact and less redundant than 'Solo Concerts' (Bremen and Lausanne). Live recording at the Köln Opera House.

Keith Jarrett/Solo Concerts: Bremen and Lausanne (1973)

A free improvisation of piano solo mixing various elements such as popular, classical and contemporary. Live recording in Bremen, Germany and Lausanne, Switzerland.

Billy Cobham/Spectrum (1973) *

A jazz drummer and ex-Mahavishnu Orchestra member, Billy Cobham's debut album as a leader. Electro jazz-rock featuring Billy Cobham's rapid-fire, ultra-virtuosic drums, Jan Hammer's electric/acoustic piano and Moog synths, and Tommy Bolin's guitar.

Mahavishnu Orchestra With John McLaughlin/Birds of Fire (1972)

The fusion/jazz-rock group led by John McLaughlin, Mahavishnu Orchestra's second studio album by the original lineup: John McLaughlin (electric guitar), Jerry Goodman (violin), Jan Hammer (keyboards), Rick Laird (bass) and Billy Cobham (drums). An intense jazz-rock with using lots of odd time signatures. Billy Cobham's machine-gun drumming and Jerry Goodman's violin solo are awesome. Recommended to progressive rock fans who like King Crimson's "Lark's Tongues in Aspic" and the like.

The Art Ensemble of Chicago/Bap-Tizum (1972) *

The avant-garde jazz ensemble that grew out of Chicago's AACM (Association for the Advancement of Creative Musicians) in the late 1960s. The members are: Lester Bowie (trumpet, flugelhorn, kelphorn, bass drum, percussion, vocals), Roscoe Mitchell (saxophones, clarinet, drums, percussion, vocals), Joseph Jarman (saxophones, alto flute, conga drums, vibes, percussion, vocals), Malachi Favors (bass, gong, log drums, whistles, vocals), and Don Moye (drums, conga drums, bass marimba, gongs, log drums, whistles, vocals). Primitive and experimental improvisation with African percussion and voices. Live recorded in performance at the 1972 Ann Arbor Blues and Jazz Festival, the United States.

Herbie Hancock/Head Hunters (1973)

A biggest-selling album recorded in 1973. Danceable fusion/jazz-funk influenced by James Brown and Sly Stone. The sounds of electric piano (Fender Rhodes) and synths are cool. Includes "Chameleon" and "Watermelon Man".

Carmen McRae/The Great American Songbook (1971)

The jazz singer Carmen McRae sings American popular songs such as Duke Ellington's "Satin Doll", Cole Porter's "At Long Last Love", Henry Mancini's "The Days of Wine and Roses", George Gershwin's "But Not for Me", and Burt Bacharach's "(They Long to Be) Close to You". Recorded live at the jazz club "Donte's", Los Angels, California. Pleasant performances in a relaxed atmosphere. Joe Pass' guitar playing is good too. One of the vocal jazz masterpieces.

Dollar Brand/African Piano (1969)

A jazz pianist from South Africa. Renamed as 'Abdullah Ibrahim' (Islamic name) later. Unaccompanied piano solo. Live recorded in Copenhagen, Denmark. European-jazz-style performance based on African folk music. Earthy and powerful piano touch. Undulating rhythm. Euphoria-inducing repetitive phrases in the minimalism style.

Chick Corea/Return to Forever (1972)

A blockbuster by Chick Corea (electric-piano) and his fusion band, Return to Forever, featuring Joe Farrell (soprano sax/flute), Stanley Clarke (bass/electric bass), Flora Purim (vocals/percussion) and Airto Moreira (drums/percussion). Melodic and comfortable music fusing electric instruments with acoustic sounds and Latin rhythms.

Chick Corea/Now He Sings, Now He Sobs (1968)

2nd album. Piano-bass-drums trio. Lambency and suppleness.

Elvin Jones/Puttin' It Together (1968)

Ex-John Coltrane Quartet drummer, Elvin Jones' first recording on the Blue Note label as a leader. The pianoless trio with Joe Farrell (tenor sax, soprano sax, flute, piccolo) and Jimmy Garrison (bass). Massive and delicate polyrhythmic drums are cool. Joe Farrell and Jimmy Garrison are good too.

McCoy Tyner Quartet/Sahara (1972)

A recording by McCoy Tyner (piano)'s regular quartet formed in 1971. The first work on the Milestone label. Moderate balance between aggressive, powerful performances and calm ones by use of koto, the Japanese traditional string instrument.

McCoy Tyner/The Real McCoy (1967)

McCoy Tyner (piano)'s first recording on the Blue Note label as a leader, after leaving John Coltrane's Quartet along with Elvin Jones (drums). Modal and energetic performance. Elvin's groovy drumming and legato playing of the cymbals are pretty cool. A masterpiece of new mainstream jazz. Features 'Passion Dance' and 'Four by Five'.

Cecil Taylor/Silent Tongues: Live at Montreux '74 (1974) *

The live recording of piano solo at the 1974 Montreux Jazz Festival. Percussive sounds like drum playing. Well-elaborated musical composition. Noisy and avant-garde, but cool.

Cecil Taylor Unit/Akisakila (1973)

The bassless trio of Cecil Taylor (piano), Jimmy Lyons (alto sax) and Andrew Cyrille (drums). Live recording in Tokyo (Shinjuku Kosei Nenkin Hall), Japan on May 22, 1973. A set of 2 CDs that includes the first part of the concert (about 83 minutes). A very long improvisation entitled 'Bulu Akisakira Kutala' (three Swahili words that mean 'Black', 'Boiling' and 'Smooth'). Extremely high-speed and dense collective improvisation.

Cecil Taylor/Unit Structures (1966) *

An avant-garde pianist influenced by contemporary music. Atonal, percussive and abstract performances with 3 winds and 2 basses.

Herbie Hancock/Future Shock (1983)

Pop-oriented electro funk featuring machinelike techno beat influenced by Kraftwerk and turntable scratching of hip-hop. The guest musicians are Bill Laswell (bass) and Michael Beinhorn (synths) from Material, the DJ Grand Mixer D.ST (turntables), Sly Dunbar (drums, percussion) from Sly & Robbie, Bernard Fowler (vocals) and others. Includes the Grammy-winning (Best R&B Instrumental) smash hit, "Rockit".

Herbie Hancock/Speak Like a Child (1968)

Soft and simple sounds by piano trio with 3 winds (flugelhorn, bass trombone and alto flute) in the low and medium registers.

Herbie Hancock/Maiden Voyage (1965) *

One of the greatest works of the 1960s jazz. Flexible musicality (from modal style to free style).

Albert Ayler/In Greenwich Village (1966/1967) *

A masterpiece that includes two live recordings in New York. Simple, melancholy melodies and dense improvisation with strings and horns. 'Truth Is Marching In' is like New Orleans marching band.

Albert Ayler Trio/Spiritual Unity (1964)

One of the classics of free jazz. Too avant-garde.

Wayne Shorter/Speak No Evil (1964)

One of the great recordings on Blue Note by saxophonist Wayne Shorter (tenor sax) as the leader with Freddie Hubbard (trumpet), Herbie Hancock (piano), Ron Carter (bass) and Elvin Jones (drums). Mysterious atmosphere and distinctive harmonic sense. All compositions are composed by Wayne Shorter and mainly comprised of gentle, balladic ones. A masterpiece of "new mainstream" jazz based on modalism.

Stan Getz and João Gilberto/Getz/Gilberto (1963)

The established masterpiece of bossa nova by tenor saxophonist Stan Getz with two of bossa nova's innovators from Brazil, guitarist/singer João Gilberto and composer/pianist Antonio Carlos Jobim. Also features Astrud Gilberto (João's wife) on vocals. Reached No.2 on the US album charts. Includes 'The Girl From Ipanema'.

Roland Kirk/The Inflated Tear (1968)

The debut recording on Atlantic Records and his masterpiece. Lyrical and soulful performances with melancholy or nostalgic feeling, based on the traditional blues style.

The Roland Kirk Quartet Featuring Elvin Jones/Rip, Rig & Panic (1965)

Recorded with Elvin Jones (drums) from John Coltrane's group, Jaki Byard (piano) and Richard Davis (bass). The title track 'Rip, Rig & Panic' and 'Slippery, Hippery, Flippery' are close to free jazz and pretty avant-garde.

Roland Kirk/Domino (1962)

His early masterpiece. Miscellaneous musicality (from earthy black music to modernism) and multi-instrumentalism (tenor sax, stritch, manzello, flute, siren...).

Bill Evans Trio/With Symphony Orchestra (1965)

Granados, J.S. Bach, Chopin and so on. Arranged by Claus Ogeman.

Bill Evans & Jim Hall/Undercurrent (1962)

The delicate and beautiful duo of Bill Evans (piano) and Jim Hall (guitar). One-to-one interplay of piano and guitar. Richard Rodgers' "Funny Valentine" is a swingy performance in up-tempo, but other tracks are all in medium/slow tempo. Can be listened in a relaxed mood.

Bill Evans Trio/Sunday at the Village Vanguard (1961)

Live recordings on the same day as 'Waltz for Debby'. The interplay between Bill Evans (piano) and Scott LaFaro (bass) is beautiful.

Bill Evans Trio/Waltz for Debby (1961) *

Live recordings by the trio of Bill Evans (piano), Scott LaFaro (bass) and Paul Motian (drums). Harmonious and melodic performance.

Ella Fitzgerald/The Complete Ella in Berlin: Mack the Knife (1960)

A masterpiece of cheerful and pop-oriented vocal jazz. Live recording in Berlin. Includes lots of excellent performances of well-known songs such as 'Mack the Knife' (from Kurt Weill/Bertolt Brecht's 'Three Penny Opera'), 'Summertime' (from George Gershwin's opera 'Porgy and Bess'), and 'How High the Moon' (a jazz standard by Morgan Lewis/Nancy Hamilton).

Eric Dolphy/Last Date (1964) **

His last work. Studio sessions in Holland. I love this album. Highly recommended.

Eric Dolphy/Out to Lunch (1964) **

A masterpiece in the free-jazz/contemporary-music style. Irregular beats and fragmented harmonies.

Eric Dolphy/Out There (1960) *

The second session as a leader. Pianoless quartet featuring Ron Carter on cello. Twelve-tone style performace like string quartet of Neue Wiener Schule (Schöenberg, Webern, Berg).

Hank Mobley/Soul Station (1960)

A representative work of Hank Mobley, the tenor saxophonist of the Blue Note label. A hard bop album of good quality, by the quartet featuring him as the only horn player with the great rhythm section: Art Blakey on drums, Paul Chambers on bass, and Wynton Kelly on piano. The highlights are Mobley's unsophisticated, easygoing tenor-sax playing and Kelly's swinging piano.

Wes Montgomery/Full House (1962)

White-hot live performances at Tsubo, the coffee house in Berkeley, California.

Wes Montgomery/The Incredible Jazz Guitar of Wes Montgomery (1960) *

Thumb-picking, unique tone, octave/chord-style playing, and transcendent virtuosity... Tommy Flanagan's piano is good too.

Wynton Kelly/Kelly at Midnight (1960)

Good piano-trio works by the three hard-bop greats, Wynton Kelly (piano), Paul Chambers (bass) and Philly Joe Jones (drums). Swinging performance with light touch and buoyant rhythm.

Max Roach/We Insist! Max Roach's Freedom Now Suite (1960)

A politically-charged work produced by drummer Max Roach, with the rise of the civil rights movement in the background. Featuring Abbey Lincoln (vocals), Coleman Hawkins (tenor saxophones) and Nigerian drummer Olatunji (congas). A seven-part suite including three tracks which are collaborations with Oscar Brown Junior (writing the lyrics). The highlights are Abbey Lincoln's powerful vocalization and the afro-polyrhythmic percussion ensemble.

Curtis Fuller/Blues-ette (1959)

Curtis Fuller is one of the great jazz trombone players, along with J.J. Johnson. The recording by the quintet featuring Curtis Fuller's trombone and Benny Golson's tenor saxophone. Bluesy performances with a relaxed tone, mainly in the low and medium registers. A hard bop classic. Includes "Five Spot After Dark" composed by Benny Golson.

The Dave Brubeck Quartet/Time Out (1959)

A famous work of West Coast jazz aimed at white middle class, by the quartet featuring Dave Brubeck (piano) and Paul Desmond (alto sax). Includes many odd time signature pieces such as the smash-hit 'Take Five' (5/4) and 'Blue Rondo a la Turk' (9/8).

Ornette Coleman/Dancing in Your Head (1973/1976)

Rock-oriented performances by use of electric guitar and electric bass.

Ornette Coleman Double Quartet/Free Jazz (A Collective Improvisation) (1960)

A contrapuntal free improvisation by double quartet on the right and left of two stereo channels: Ornette Coleman (alto sax), Don Cherry (trumpet), Scott LaFaro (bass) and Billy Higgins (drums) on the left; Eric Dolphy (bass clarinet), Freddie Hubbard (trumpet), Charlie Haden (bass) and Ed Blackwell (drums) on the right.

Ornette Coleman/The Shape of Jazz to Come (1959) *

Free performances without respect to chord progressions. One of the classics of free jazz.

John Coltrane/A Love Supreme (1964)

Spiritual performances in the modal style.

John Coltrane/My Favorite Things (1960)

The title track is a performance (on soprano sax) of a song from the musical "The Sound of Music".

John Coltrane/Giant Steps (1959) **

A masterpiece in the "sheets of sound" style (playing a series of minute phrases fast, like lightning). All the tunes are his original.

John Coltrane/Soultrane (1958)

Moderate balance between aggressive improvisation and good song selection (ballad).

Sonny Clark/Cool Struttin' (1958)

This album is popular in Japan, for Japanese like its lyricism, minor key and blues feeling.

Art Blakey and the Jazz Messengers/Moanin' (1958)

A classical masterpiece of hard bop/funky jazz. The members are: Lee Morgan (trumpet), Benny Golson (tenor sax), Bobby Timmons (piano), Jymie Merritt (bass) and Art Blakey (drums).

Cannonball Adderley/Somethin' Else (1958)

A collaboration between alto saxophonist Cannonball Adderley and Miles Davis. The members are: Miles Davis (trumpet), Cannonball Adderley (alto sax), Hank Jones (piano), Sam Jones (bass) and Art Blakey (drums). Moderately restrained, lyrical and beautiful performance. Noted as one of the best modern jazz/hard bop albums. "Autumn Leaves" (the original is a French chanson song composed by Joseph Kosma) is known for its wonderful performance.

Tommy Flanagan Trio/Overseas (1957)

A pianist known as a sideman in many great recordings in the 1950s. Swinging and rhythmical playing in bop-style. Elvin Jones' brush playing on drums is cool too. Recorded in Stockholm.

Count Basie/The Complete Atomic Basie (1957)

A masterpiece of Count Basie's orchestra called "the Atomic Band" in the late 1950s, featuring Count Basie (piano), Freddie Green (guitar), Eddie "Lockjaw" Davis (tenor sax), Al Grey (trombone), Snooky Young (trumpet), Sonny Payne (drums) and others. Pop-oriented big-band jazz with lightly swinging rhythm and sharp brass ensemble. Composed and arranged by Neal Hefti.

The Red Garland Trio/Groovy (1956/1957)

A pianist known as a member of Miles Davis Quintet in the late 1950s. His fourth as a leader for the Prestige label. The trio with Paul Chambers (bass) and Art Taylor (drums). Swinging and trundling style of playing with single tone by his right hand and block chords by his left hand.

Art Pepper Quartett/Modern Art (1956/1957)

An altoist of the West Coast jazz. One of his masterpieces recorded in the 1950s. The performance is understated in moderation, and filled with romanticism and lyricism. The opening track "Blues In" and the last "Blues Out" are in a duet with bass player Ben Tucker.

Sonny Rollins Four/Saxophone Colossus (1956)

One of the well-known masterpieces of modern jazz. "St. Thomas", composed by Rollins, is a nice tune in the calypso style.

Charles Mingus/Charles Mingus Presents Charles Mingus (1960) *

Free-oriented, but well-organized (like orchestra) performances by pianoless quartet with Eric Dolphy (alto sax, bass clarinet and flute). Features "Original Faubus Fables".

Charles Mingus/Mingus Ah Um (1959)

A big band-style combo by eight players. Recommended to beginners, for this assembles his representative tunes based on gospel/blues, and relatively accessible compared with his other major albums. "Fables of Faubus" is the first recordning of this tune. "Goodbye Pork Pie Hat", a funeral elegy for Lester Young who died, is a slow blues masterpiece, covered by many musicians such as Jeff Beck and Stanley Clarke.

The Charlie Mingus Jazz Workshop/Pithecanthropus Erectus (1956)

The title track is an emotional and sensational tune, like free jazz.

Lester Young - Teddy Wilson Quartet/Pres and Teddy (1956)

The recording by the two grand masters of swing jazz, Lester Young (Tenor sax) and Teddy Wilson (piano) in their last days. A relaxed and moderately restrained performance of popular standards.

Erroll Garner/Concert by the Sea (1955)

Erroll Garner(piano)'s best-selling album in the US. Live recording. Unique piano-playing style called "behind-the-beat" (right-handed single-note lines behind the left-handed beat).

Chet Baker/Chet Baker Sings (1954/1956)

A trumpeter/vocalist of the West Coast/cool jazz in the 1950s, Chet Baker's vocal album aimed at the general public. Sensitive and melancholic sounds featuring his androgynous and cool vocals. Includes mainly movie/musical songs and standards such as famous 'My Funny Valentine' (composed by Richard Rodgers). Recommended for those who like bossa nova, soft rock and acoustic-oriented guitar pop.

Helen Merrill With Clifford Brown/Helen Merrill With Clifford Brown (1954)

A female singer, Helen Merrill's album featuring trumpeter Clifford Brown. Merrill is popular especially in Japan. Distinctive husky voice. "You'd Be So Nice to Come Home To" (written and composed by Cole Porter) is famous. Arranged and conducted by Quincy Jones. One of the masterpieces of vocal jazz.

Clifford Brown and Max Roach/Clifford Brown and Max Roach (1954/1955)

Includes great sessions of hard bop recorded in 1954 and 1955, by the two-headed quintet featuring trumpeter Clifford Brown and drummer Max Roach.

Miles Davis/On the Corner (1972) *

An avant-garde work introducing the funk groove inspired by Sly & the Familystone, the methods of tape looping and overdubbing, and the elements of contemporary electronic music such as Karlheinz Stockhausen into jazz. The endlessly repeating, minimalistic Afro-funk rhythms are like repetition-compulsion. The musicians are Miles Davis (trumpet), Dave Liebman (soprano saxophone), Carlos Garnett (soprano/tenor saxophones), Chick Corea (piano), Herbie Hancock (piano, synths), John McLaughlin (electric guitar) and others. One of the masterpieces of the Electric Miles.

Miles Davis/Bitches Brew (1969)

This album introduced electric instruments and polyrhythm into jazz and greatly influenced fusion in the 1970s. complex rhythm with four percussionists. Wayne Shorter (soprano sax), Chick Corea (electric piano), John McLaughlin (electric guitar), Joe Zawinul (electric piano) and others.

Miles Davis/Miles in Berlin (1964) *

The first recording by Miles Davis' 'second great quintet': Miles Davis (tp), Wayne Shorter (ts), Herbie Hancock (p), Ron Carter (b) and Tony Williams (ds). Dismantlement and reconstruction of Miles' old repertoire. Modal and avant-garde-oriented performance. 'Milestones' and 'So What' are played so much faster than ever. The famous stantard number 'Autumn Leaves' is deformed and almost loses its original form. Recorded live at the Berlin Philharmonic, Germany.

Miles Davis/Sketches of Spain (1959/1960)

The original of "Concierto De Aranjuez" is the 2nd movement of Rodrigo's guitar concerto. Arranged by Gil Evance.

Miles Davis/Kind of Blue (1959)

A masterpiece of modal jazz. Modality (playing on scales) liberated improvisation from chord progressions.

Miles Davis/Bags Groove (1954)

Noted as a great performance of hard bop. Thelonious Monk (piano) joined.

Louis Armstrong and His All-Stars/Louis Armstrong Plays W.C. Handy (1954)

The jazz trumpeter/singer, Louis Armstrong's fine recording in his later career. Satchmo plays "the Father of the Blues", W.C. Handy's 11 songs with his All-Stars: Trummy Young (trombone), Barney Bigard (clarinet), Billy Kyle (piano), Arvell Shaw (bass), Barrett Deems (drums), and Velma Middleton (vocals). Features 'St. Louis Blues'.

The Modern Jazz Quartet/Django (1953-1955)

The only album by the original member of the Modern Jazz Quartet (the group was originally formed as the rhythm section of Dizzy Gillespie & His Orchestra). Elegant and contrapuntal performance like chamber music, featuring John Lewis' piano, composition, arrangement and Milt Jackson on vibraphone. The title track 'Django' is a famous number John Lewis composed in mourning the death of guitarist Django Reinhardt.

Duke Ellington/Money Jungle (1962)

A piano trio session with Max Roach (drums) and Charles Mingus (bass). Aggressive and massive performance in a post-bop style.

Duke Ellington and His Orchestra/Hi-Fi Ellington Uptown (1951/1952)

Exotic and colorful big band jazz. Includes his masterpieces such as 'Skin Deep' (featuring Louis Bellson on two bass drums), 'The Mooche', 'Take the "A" Train' (vocal by Betty Roche) and 'Perdido'.

Lee Koniz/Subconscious-Lee (1949-1950)

Konitz's playing (alto sax) with Lennie Tristano (piano) in the 1949 was a masterpiece in the cool jazz era.

Thelonious Monk/Thelonious Himself (1957)

A piano solo. Comprised mainly of standards. Slow tempos. Performances in a 'ineloquent' style.

Thelonious Monk/Brilliant Corners (1956) **

On this album, Monk's avant-garde musicality was successfully materialized as session performance.

Thelonious Monk/Solo on Vogue (1954)

A piano solo album recorded in Paris when he was in obscurity and was not yet famous. Includes several original masterpieces like "'Round About Midnight", "Evidence", "Well You Needn't" and "Off Minor".

Thelonious Monk/Genius of Modern Music (1947-1952) *

The complete edition released in Japan in 2001. The 2 discs that include all the 6 sessions on Blue Note label including the alternate takes. His unique musicality and original masterpieces-"Ruby My Dear", "Well You Needn't", "'Round Midnight", "Straight No Chaser" and so on-were already completed.

Bud Powell/The Bud Powell Trio (1947/1953)

Bebop piano of early date. The recordings in the 1947 are excellent performances at his zenith.

Charlie Parker/Now's the Time (1952/1953)

Includes two excellent sessions on Verve Records, in his last years of the 1950s. "Chi-Chi", "Now's the Time", "Confirmation" and others.

Charlie Parker/Charlie Parker with Strings (1949-1950)

Sessions with strings. Includes "Just Friends" and "Summertime".

Charlie Parker/Charlie Parker on Dial (1946-1947)

This is also a recording in his best days. The complete version contains almost all the takes.

Charlie Parker/The Savoy Recordings -Master Takes- (1945-1958) *

Virtuoso alto saxophonist and one of bebop founders, Charlie Parker's recordings at his zenith.

Benny Goodman/Live at Carnegie Hall: 1938 Complete (1938)

The complete edition (a set of 2 CDs) of clarinetist Benny Goodman's historic live recording at Carnegie Hall, New York, on January 16, 1938. Includes the performances by the big band Benny Goodman and his Orchestra, Benny Goodman Trio and Benny Goodman Quartet, and jam sessions. Featuring Count Basie (piano), Teddy Wilson (piano), Johnny Hodges (soprano/alto saxophones), Harry James (trumpet), Lester Young (tenor saxophone), Lionel Hampton (vibraphone), Gene Krupa (drums) and many others. Includes "Stompin' at the Savoy", "Sing, Sing, Sing" and others. Digitally remastered from the original 78 rpm transcription discs. There are lots of surface noise, but the sound quality is fine. A vivid recording of swing jazz era.

Billie Holiday/Lady Day: The Best of Billie Holiday (1933-1944)

One of the greatest jazz singers of the 20th century. The 2-CD compilation that includes the 36 major tracks culled from "Lady Day: The Complete Billie Holiday on Columbia (1933-1944)", the 10-CD box set encompassing her early recordings on the Columbia Records. The famous "Strange Fruit" is not included, because not recorded for Columbia. The performances with pianist Teddy Wilson's orchestra and other swing jazz musicians. The songs are mainly pop tunes and standard numbers of those days. Distinctive style of singing, with unique phrasing and husky voice, like a wind (horn) instrument. Greatly influenced by blues singer Bessie Smith and jazz trumpeter/vocalist Louis Armstrong. Relaxing and fascinating music.