Jazz Music Album Download

Jazz as funk, funk as jazz: the two lexicons entwine and merge so as to lose meaning in one of the great live records of the 1990s. Coleman had already made a splash with his JMT label output yet his playing and writing are more penetrating and focused here. Snappy, stabbing, staccato rhythmic and melodic lines are repeated to trance giving the impression of a giant musical pinball machine on a rotating floor. As well as exerting a decisive influence on anyone from the F-IRE collective to Omar Sosa, Coleman has always managed to reflect something of his times. Here he captured the hyperactivity of the burgeoning Internet age and the brash self-assertion of the hip-hop generation. (KLG)

Duke Ellington discovered and recorded pianist-composer Dollar Brand aka Abdullah Ibrahim in 1963 playing in a more or less conventional jazz manner, but it took a long time for the South African township music he evolved in the 1970s to be accepted outside of Africa. This album was one of the very first to be made in America and its impact was immense, its melodicism, warmth and simplicity brought something new and refreshing to the often overheated, testosterone-filled gladiatorial pit of small group improvising to established harmonic patterns. As Jelly Roll Morton had shown 50 years earlier, sometimes the best comes from a truly group effort. (KS)

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Ra had been making albums for his own label Saturn for a decade by the time this one slipped out via ESP-Disk, but this was the first to make a wide impact due not only to the unprecedented nature of the music (some tracks sound closer to Tibetan Buddhist music than anything being played in the America at the time) but also to the fact that ESP-Disk, a tiny label making a big noise at the time, actually got distributed outside of Chicago and New York and even made a splash internationally. Ra was on the vinyl map and never looked back. Next stop, Jupiter. (KS)

There is a curious reluctance for some to acknowledge that Rollins came back from his 1959-61 voluntary exile a more complete and fascinatingly complex musician. The Bridge is enduring testimony to that fact: he has shed all stylistic baggage, leads from the front, plays with a new poise and freshness and with a unique identity that has stayed intact up to the present day. Although late-50s Rollins may be the stuff to get the critics panting, this was the template for all future Rollins creative ventures, whether they be avant-garde or retro or just plain Sonny. Unbeatable music. (KS)

By the time he made this date, Corea had worked his way through a heavy avant-garde phase and out onto the sunlit plains of his own latin-based musical imagination. It had always been there in his music, but now, marrying the lan and high spirits of Flora Purim and Airto with his own naturally ebullient and melodically uplifting inclinations, Corea suddenly not only stepped forward himself past the stentorian gloom and machismo of the other fusioneers of the day, but redefined exactly what latin jazz should be about. Intoxicating music played by masters makes this an era-defining milestone. (KS)

At the close of the 60s, the modal idea became the foundation of fusion jazz. It proved the same for a number of rock groups, such as the Allman Brothers, Grateful Dead and Santana, that used the electric guitar as the solo instrument of choice, and set the standard for generations of jam-oriented bands to follow.

Developed over the course of a long residency at New York jazz club Smalls, Rosenwinkel brings together Berklee alumni saxophonist Mark Turner, bassist Ben Street and drummer Jeff Ballard for a set of tunes that have become something of modern jazz standards for a whole generation of students.

Count Basie was responsible for many classics during this time and this 1958 album features the Second Testament edition of the Count Basie Orchestra playing compositions and arrangements of Neal Hefti.

By 1963, saxophonist John Coltrane had already established himself as a jazz pioneer, having toured extensively with Miles Davis and released albums including Giant Steps, Blue Train & My Favorite Things.

Michael Brecker was an astonishingly versatile musician, whose career included work with pioneering jazz-rock and fusion bands, sideman appearances with older jazz masters, extensive session work with some the biggest pop and rock acts in the world, and acclaimed, award-winning albums under his own name.

Bebop pioneer Charlie Parker took a deep interest in classical music, with Stravinsky, Brahms and Bartok amongst his favourites, and it was a long-held ambition of his to record with an orchestral ensemble.

American jazz pianist Horace Silver was one of the leading components of the hard bop movement and the title track from this Blue Note album is perhaps his most well-known contribution to the world of jazz.

Whilst Song for my Father has gone on to become a true jazz standard, the album contains 9 other gems, including the latin-influenced Que Pasa? and punchy, up-tempo number The Kicker.

It features the musician in a classic jazz piano trio lineup with Miroslav Vitou on bass and drummer Roy Haynes, who had previously featured on classic bebop recordings with Bud Powell and Charlie Parker.

The line-up changes at various points on the album, but features trumpeters Carmell Jones & Blue Mitchell, tenor saxophonists Joe Henderson & Junior Cook, bassists Teddy Smith & Gene Taylor and drummers Roger Humphries & Roy Brooks.

First released by Blue Note in 1952, the album is centred around his usual piano trio setting, but includes tracks with the addition of Fats Navarro and a very young Sonny Rollins on trumpet and tenor saxophone respectively.

His film-star career and off-stage antics may lead some hardcore jazz fans to consider Sintra more of a pop star, but this 1966 live album, from the Sands Hotel in Las Vegas, sees him at his captivating best.

Our pick of the best album from the Chet Baker catalogue is the 1958 session Chet Baker Sings: It Could Happen To You which sees him singing and swinging on a great selection of standards, as well as taking short but wonderfully melodic trumpet solos.

Its fairly short track lengths (allegedly planned to make it more appealing to commercial radio stations) makes it a particularly good introduction for newcomers: an essential jazz album for every collection!

John Coltrane was deeply involved in the modal jazz revolution that took place in the late 1950s, joining Miles Davis in moving away from traditional chord functions towards a more static harmonic landscape.

Dave Brubeck, a classically influenced pianist, was hugely popular on the college circuit playing for enthusiastic young students, and he would become only the second jazz musician, after Louis Armstrong, to feature on the cover of Time magazine.

As suggested by the track titles, the saxophonist was heading in an increasingly spiritual direction that would characterise much of his later work, and the music can be interpreted as an expression of gratitude to a higher power.

Davis was a relentless innovator who refused to stand still: his music would change drastically over the following years, taking in freer forms and jazz fusion, but Kind of Blue, for many, remains his definitive artistic statement and certainly a great starting point when it comes to jazz for beginners.

So I am new to collecting Jazz vinyl and I have some Coltrane, some Miles Davis, and some Thelonious Monk. What other must-have jazz albums would you recommend I track down and add to my collection? All suggestions are appreciated.

I really enjoy live jazz albums where you can hear the background noise of the club; clinking dishes, quiet conversations, cigarette lighters sparking, wooden floors creaking, etc. I'm trying to find more albums which fit into this criteria. Examples of this would be Bill Evans at The Village Vanguard, The Oscar Peterson Trio Live in Chicago, Art Blakey Quintet's A Night at Birdland, even Nighthawks at the Diner by Tom Waits. If you have any suggestions at all please post them below, I'd really appreciate it!

Artist: Gregory Porter | Release Year: 2012

Personnel: Gregory Porter (vocals), Chip Crawford (piano), Emanuel Harrold (drums), Keyon Harrold (trumpet), Aaron James (bass), Kamau Kenyatta (horns), Tivon Pennicott (saxophone), Yosuke Sato (saxophone)

Start With: Be Good

Why You Need This Album: Gregory Porter wields a beautiful, supple baritone voice, sports a deep knowledge of the Jazz tradition, shows an abiding love of R&B, and has a sense of adventure that drives him to explore new projects and write new music. On Be Good, he struck a perfect balance that will surprise and delight you at every turn.

Purchase: Amazon | iTunes

Diatom Ribbons, by Kris Davis (center) was selected as the No. 1 jazz album of 2019 in a poll of 140 critics. Davis' album includes contributions from a wide range of musicians, including Terri Lyne Carrington (left) and Val Jeanty (right). Caroline Mardok/Courtesy of the artist hide caption

Below are the results of NPR Music's 7th Annual Jazz Critics Poll (my 14th, going back to the poll's beginnings in the Village Voice). 2019's results provided surprise after surprise. The only predictable winner was in Latin Jazz: Miguel Zenon's Sonero, the alto saxophonist's fifth victory in this category. But Eric Dolphy's Musical Prophet: The Expanded 1963 New York Studio Sessions upset a "new" John Coltrane album in Reissue/Discovery. Relative newcomer Jazzmeia Horn's Love and Liberation won in Vocal. The winner in Debut is annually a newcomer, of course, and in 2019 this was Joel Ross, for KingMaker. But the biggest surprises of all were in the voting for Album of the Year, with an unprecedented five women in the Top 10, all for the first time, and Kris Davis finishing on top, for her self-released Diatom Ribbons. 2351a5e196