Lester Young, “ Kansas City Swing” (Definitive, 2004 tracks recorded 1938-44).Ĭount Basie, “ The Complete Decca Recordings” (Verve, 1992 tracks recorded 1937-39).Ĭount Basie, “ The Complete Atomic Basie” (Blue Note, 1994 tracks recorded 1958).īenny Goodman, “ At Carnegie Hall-1938-Complete” (Columbia, 1999). Lester Young, “ The Lester Young/Count Basie Sessions 1936-40” (Mosaic, 2008 available direct through Mosaic). Teddy Wilson, “ The Noble Art of Teddy Wilson” (ASV Living Era, 2002 tracks recorded 1933-46). Sidney Bechet, “ The Sidney Bechet Story” (Proper, 2001 tracks recorded 1923-50).ĭuke Ellington, “ The OKeh Ellington” (Sony, 1991-tracks recorded 1927-31).ĭuke Ellington, “ Golden Greats” (Disky, 2002 tracks recorded 1927-48).ĭuke Ellington, “ Never No Lament: The Blanton-Webster Band” (RCA, 2003 tracks recorded 1940-42).ĭuke Ellington, “ Ellington at Newport 1956” (Sony, 1999).ĭuke Ellington, “ Money Jungle” (Blue Note Records, 1962).Ĭoleman Hawkins, “ The Essential Sides Remastered, 1929-39” (JSP, 2006).Ĭoleman Hawkins, “ The Bebop Years” (Proper, 2001 tracks recorded 1939-49).īillie Holiday, “ Lady Day: The Master Takes and Singles” (Sony, 2007 tracks recorded 1933-44). Handy” (Columbia, 1954).įletcher Henderson, “ Tidal Wave” (Verve, 1994 tracks recorded 1931-1934).īessie Smith, “ The Essential Bessie Smith” (Sony, 1997 tracks recorded 1923-33).īix Beiderbecke, “ The Bix Beiderbecke Story” (Proper, 2003 tracks recorded 1924-30).ĭjango Reinhardt, “ The Classic Early Recordings in Chronological Order” (JSP, 2000 tracks recorded 1934-39). Louis Armstrong, “ Louis Armstrong Plays W. Louis Armstrong, “ The Complete RCA Victor Recordings” (RCA, 2001 tracks recorded 1932-47). Louis Armstrong, “ The Complete Hot Five and Hot Seven Recordings” (Sony, 2006 tracks recorded 1925-29). King Oliver, “ King Oliver’s Creole Jazz Band: The Complete Set” (Challenge, 1997 tracks recorded 1923). There is a suggestion below of the dazzling scope of contemporary jazz, but the focus is on the classic jazz that is Schaap’s specialty.įats Waller, “ Handful of Keys” (Proper, 2004 tracks recorded 1922-43). Since the nineteen-seventies, jazz has been branching out in so many directions that you would need to list at least another hundred recordings, by the likes of Steve Coleman, Stanley Jordan, Joe Lovano, Jacky Terrasson, John Zorn, David Murray, Avishai Cohen, Béla Fleck, Eliane Elias, Roy Hargrove, Dave Douglas, Matthew Shipp, Gonzalo Rubalcaba, Fat Kid Wednesdays, and many, many others. We have also tried to strike a balance between healthy samplings of the innovative giants (Armstrong, Ellington, Parker, Davis, Coltrane, etc.) and the greater range of talents and performances.
We have tried not to overdo it with expensive boxed sets and obscure imports sometimes it couldn’t be helped.
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Early New Orleans jazz, swing, bebop, cool jazz, modal jazz, hard bop, free jazz, third stream, and fusion are all represented, though not equally. These hundred titles are meant to provide a broad sampling of jazz classics and wonders across the music’s century-long history. What follows is a list compiled with the help of my New Yorker colleague Richard Brody. In the end, he provided a few basic titles from Louis Armstrong, Count Basie, Benny Goodman, Miles Davis, and other classics and admitted to a “pyrrhic victory.” Schaap bemoaned the loss of authoritative discographies and the “troubles” of the digital age, particularly the loss of informative aids like liner notes and booklets. Such attempts, he said, have been going on for a long time, but “who remembers the lists and do they really succeed in driving people to the source?” Add to that, he said, “the dilemma of the current situation,” in which music is often bought and downloaded from dubious sources. First, I asked Schaap to assemble the list, but, after a couple of false starts, he balked. While finishing “ Bird-Watcher,” a Profile of the jazz broadcaster and expert Phil Schaap, I thought it might be useful to compile a list of a hundred essential jazz albums, more as a guide for the uninitiated than as a source of quarrelling for the collector. Photograph by William Gottlieb / Redferns / Getty
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