1,000 Jazz Albums You Should Hear Before You Die (971-980)

Here is another 10 to add to the list.

We are getting close! Just a handful of albums left to add. Remember that there is no ranking system here. Hopefully these lists will inspire you to seek some of these albums out that perhaps you haven’t heard before, or revisit an old favorite. And as always, we want your thoughts on any or all of these albums. Here, in no particular order, are albums 971 through 980.

971. The President Plays with the Oscar Peterson Trio – Lester Young (Verve, 1952) CLICK HERE TO BUY

972. Oscar Peterson Plays the Jerome Kern Songbook – Oscar Peterson (Verve, 1954) CLICK HERE TO BUY

973. Songs in a Mellow Mood – Ella Fitzgerald (Universal Distribution, 1955) CLICK HERE TO BUY

974. Candid Dolphy – Eric Dolphy (Candid, 1961) CLICK HERE TO BUY

975. The Hawk in Paris – Coleman Hawkins (RCA, 1956) CLICK HERE TO BUY

976. Playboys – Art Pepper/Chet Baker (Blue Note/Pacific Jazz, 1956) CLICK HERE TO BUY

977. Sonny Rollins with the Modern Jazz Quartet – Sonny Rollins (Original Jazz Classics, 1953) CLICK HERE TO BUY

978. Lionel Hampton Presents Buddy Rich – Lionel Hampton/Buddy Rich (Who’s Who in Jazz, 1977) CLICK HERE TO BUY

979. Olympia Concert – Sidney Bechet (Vogue, 1955) CLICK HERE TO BUY

980. Out of the Cool – Gil Evans (Impulse!, 1960) CLICK HERE TO BUY

1,000 Jazz Albums You Should Hear Before You Die (961-970)

1,000 Jazz Albums You Should Hear Before You Die (951-960)

1,000 Jazz Albums You Should Hear Before You Die (941-950)

1,000 Jazz Albums You Should Hear Before You Die (931-940)

1,000 Jazz Albums You Should Hear Before You Die (921-930)

1,000 Jazz Albums You Should Hear Before You Die (911-920)

1,000 Jazz Albums You Should Hear Before You Die (901-910)

1,000 Jazz Albums You Should Hear Before You Die – The First 750

1,000 Jazz Albums You Should Hear Before You Die – The First 500

1959 – 50 Years Ago and Still the Best Year in Jazz

50 years ago certainly told some sad stories in jazz, including the death of Billie Holiday and Lester Young. But 1959 still appears to be the year that produced some of the most influential albums in jazz history. Here is a list of the best from 1959 (and thanks to Robin Lloyd for the list, and pointing out their similar anniversary).

1. Kind of Blue – Miles Davis

kind of blueThe most legendary album in jazz history easily takes the top spot on this list. The original album still sells 5,000 copies a week. A two-CD “Legacy Edition” version of this album was released celebrating the 50th anniversary, including alternate takes, false starts, and a 17-minute live version of So What.


2. Time Out – Dave Brubeck

time outThe album that left the 4/4 time signature behind, was the first jazz album to have a single (Take Five) that sold one million copies. Sony will release its own 50th Anniversary edition of Time Out this Tuesday, featuring three discs. Disc one will feature a newly remastered edition of the original. Disc two is a 30-minute DVD interview with Dave Brubeck talking about the making of Time Out, with never before seen footage, and Disc three is a compilation of recently discovered tapes at the Newport Jazz Festival from 1961, 1963, and 1964.

3. Giant Steps – John Coltrane

giant stepsAnother great album where every song became a jazz standard. The album features two different trios, with bassist Paul Chambers being the only member to participate in both. Constant chord changes and wonderful improvisation made this a classic.

4. Mingus Ah Um – Charles Mingus

mingusAs mentioned earlier, the great Lester Young died in 1959, and Mingus Ah Um is highlighted with a wonderful tribute to Young called Good Bye Pork Pie Hat. Columbia has also released a two disc “Legacy Edition” of this album this year, featuring unedited versions of tunes that were shortened for the original version, as well as some great outtakes.

5. The Shape of Jazz to Come – Ornette Coleman

shape of jazzReleased exactly 50 years ago last Friday, The Shape of Jazz to Come basically said “forget about the rules, just let me play”. That might sound sloppy (the description, not the music), but Coleman might have just looked at things differently than those before him. He always heard a melody, and managed to create great jazz with freedom that didn’t sound chaotic.