Various - The Gold Collection: Modern Jazz (CD)
By the s, the saxophone was commonplace in jive music, the performance of which continued to be restricted to townships. The genre was called sax jive and later mbaqanga. Mbaqanga literally means dumpling but implies home-made and was coined by Michael Xabaa jazz saxophonist who did not like the new style. The early s also saw performers such as bassist Joseph Makwela and guitarist Marks Mankwane add electric instruments and marabi and kwela influences to the mbaqanga style, leading to a funkier and more African sound.
Mbaqanga developed vocal harmonies during the very early s when groups including The Skylarks and the Manhattan Brothers began copying American vocal bands, mostly doo wop. Rather than African-American four-part harmonies, however, South African bands used five parts. The Dark City Sisters were the most popular vocal group in the early s, known for their sweet style. Aaron Jack Lerole of Black Mambazo added groaning male vocals to the female harmonies, later being replaced by Simon 'Mahlathini' Nkabindewho has become perhaps the most influential and well-known South African "groaner" of the twentieth century.
Marks Mankwane and Joseph Makwela's mbaqanga innovations evolved into the more danceable mgqashiyo sound when the two joined forces with Mahlathini and the new female group Mahotella Queensin Mankwane's backing group Makhona Tsohle Band also featuring Makwela along with saxophonist-turned-producer West Nkosirhythm guitarist Vivian Ngubaneand drummer Lucky Monama.
Both groups were massive competitors in the jive field, though the Queens usually came out on top. The late s saw the rise of soul music from the United States. Wilson Pickett and Percy Sledge were among singers who were especially popular and inspired South African performers to enter the field with an organ, a bass-and-drum rhythm section and an electric guitar.
In the s jazz split into two fields. Dance bands like the Elite Swingsters were popular, while avant-garde jazz inspired by the work of John ColtraneThelonious Monk and Sonny Rollins was also common.
InAmerican pianist John Mehegan organised a recording session using many of the most prominent South African jazz musicians, resulting in the first two African jazz LPs. Again, many musicians emigrated or went into exile in the UK or other countries.
While the African jazz of the north of South Africa was being promoted in Johannesburg, musicians in Cape Town were awakening to their jazz heritage. Pianist Charles Segalwho had moved from Pretoria to Cape Town, brought an enthusiasm for jazz after several trips to the US, where he met and was influenced by the jazz pianist Oscar Peterson.
The port city had a long history of musical interaction with seafaring players. It was an improvised version of their folk songs with musical reference to European and American jazz which would go on some 20 years later to be South Africa's most important jazz export. By the s, only a few long-standing mgqashiyo groups were well-known, with the only new groups finding success with an all-male line-up.
Abafana Baseqhudeni and Boyoyo Boys were perhaps the biggest new stars of this period. The Mahotella Queens' members began leaving the line-up around for rival groups. Gallo, by far the biggest record company in South Africa, began to create a new Mahotella Queens line-up, recording them with Abafana Baseqhudeni.
Lead groaner Mahlathini had already moved to rival label EMI in earlywhere he had successful records with backing team Ndlondlo Bashise and new female group the Mahlathini Girls. The new Mahotella Queens line-up over at Gallo found just as much success as the original Queens, recording on-and-off with new male groaners such as Robert Mbazo Mkhize of Abafana Baseqhudeni.
Ladysmith Black Mambazoheaded by the sweet soprano of Joseph Shabalalaarose in the s, and became perhaps the biggest isicathamiya stars in South Africa's history. Their first album was 's Amabuthowhich was also the first gold record by black musicians; it sold over 25, copies.
Ladysmith Black Mambazo remained popular throughout the next few decades, especially afterwhen Paul Simonan American musician, included Ladysmith Black Mambazo on his extremely popular Graceland album and its subsequent tour of With progressive jazz hindered by governmental suppression, marabi-styled dance bands rose to more critical prominence in the jazz world.
The music became more complex and retained popularity, while progressive jazz produced only occasional hits, such as Winston Ngozi 's "Yakal Nkomo" and Abdullah Ibrahim's " Mannenberg ". During the punk rock boom of the late s, UK and American punk music influenced South African bands, such as Wild Youth and Powerage and gained a cult following, focused in Durban and in and around Johannesburg.
Some of the aforementioned bands passed through on tours. In the middle of the s, American disco was imported to South Africa, and disco beats were added to soul music, which helped bring a halt to popular mbaqanga bands such as the Mahotella Queens. InSouth African children rebelled en masse Various - The Gold Collection: Modern Jazz (CD) apartheid and governmental authority, and a vibrant, youthful counterculture was created, with music as an integral part of its focus.
Styles from before the s fusion of disco and soul were not widely regarded, and were perceived as being sanctioned by the white oppressors. Few South African bands gained a lasting success during this period, however, with the exception of the Moverswho used marabi elements in their soul.
Harari arose in their place, eventually moving to an almost entirely rock and roll sound. One of Harare's members, Sipho 'Hotstix' Mabuse became a superstar in the s. There was a thriving, mostly white, rock music scene in Cape Town in the s.
The album McCully Workshop Inc. The Trutone label was owned by South African company Gallo Africa Limited an internationally recognised music producer.
The early s brought popular attention on alternative rock bands such as The Usual and Scooter's Union. In and around Johannesburg the growth of the independent music scene led to not just a surge of bands ranging from big names relatively speaking Tribe After TribeThe Dynamics, The Softies and the Spectres through to smaller hopefuls What Colours, Days Before and No Exit, but also to the growth of a vibrant DIY fanzine scene with "Palladium" and "One Page to Many" two titles of note.
South African alternative rock grew more mainstream with two leading bands, Asylum Kids from Johannesburg and Peach from Durban having chart success and releasing critically acclaimed albums. One artist of specific note to come from this era was James Phillips who was involved with several influential and important bands including Corporal Punishment ; Cherry Faced Lurchers ; and his Afrikaans alter ego Bernoldus Niemand roughly translates as Bernard Nobody.
With his Bernoldus Niemand character, James managed to cross the language division and influence a whole range of Afrikaans speaking musicians to the same punk ethic that had inspired him, and an important Afrikaans alternative rock scene grew from this influence. During this period, the only Afrikaners to achieve much mainstream fame were Anton Goosen, a rock singer-songwriter, and Bles Bridgesan imitator of American lounge singer Wayne Newton.
InDog Detachment was one of the earliest groups which combined Post-Punk music with elements of Gothic rock. InThe Awakening was formed by vocalist, guitarist and producer Ashton Nyte. The band is credited in major national press as "South Africa's most successful Gothic Rock act and one of the top bands in the far broader Alternative scene"  and headlined major national festivals throughout South Africa, including the country's largest music festival Woodstock, in addition to Oppikoppi  and RAMFest.
Another notable goth artist was The Eternal Chapter, which had a hit with the cover "Here comes the man", originally by Boom Boom Room. It aimed to promote South African music. The winning song was Don Clarke 's Sanbonani. The original Mahotella Queens line-up reunited with Mahlathini and the Makgona Tsohle Band indue to unexpected demand from mgqashiyo and mbaqanga fans. Ladysmith Black Mambazo took their first step into the international arena via Paul Simon on his Graceland album inwhere a series of reissue albums by US label Shanachie sold very well.
Mambazo became world travellers, touring the world and collaborating with various Western musicians to massive success. A year later, Simon produced Black Mambazo's first U.
Since then, and in total, the group has received fifteen Grammy Award Nominations and three Grammy Award wins, including one in World in Union, the Ladysmith Black Mambazo record feat. P J Powersbecame an international hit record in It charted in the UK no 47 on the singles charts.
Johnny Clegg got his start in the s playing Zulu-traditional music with Sipho Mchunuand became prominent as the only major white musician playing traditional black music, achieving success in France as "Le Zoulou Blanc" The White Zulu. The s also saw a resurgence in rock and roll bands, among them The HelicoptersPetit ChevalSterling and Tellinger.
The group exploded into the national consciousness with the release of its 10 times Platinum debut album in Taking SA music to the world: Amongst other things, this included Mango Groove being the only South African act invited to perform at the handover of Hong Kong to China, being the only South African act featured on The Freddy Mercury Tribute concert broadcast to over a billion peopleappearing in front of people at the SOS Racisme concert in Paris and receiving 3 encores at the Montrieux Jazz Festival.
The most lasting change, however, may have been the importation of reggae from Jamaica. Though he was killed in a car accident when he was just 25, on 25 Junehis genius is preserved by the many recordings he made. Though most big bands had bitten the dust by the 50s largely due to economic factorsBasie kept his going and enjoyed something of a renaissance.
He found his own individual voice on his instrument, though, as this album — his only release on Blue Note — clearly illustrated. Cannonball, who was playing in the Miles Davis sextet at the time and would go on to record the iconic Kind Of Blue with the trumpeter a year latermanaged to rope his boss into the sessions.
A stunning example of late 50s hard bop. The gospel-influenced title Various - The Gold Collection: Modern Jazz (CD) written by Philly pianist Bobby Timmonswith its antiphonal cadences, anticipates the soul jazz style that would emerge from hard bop. Behind the matinee-idol good looks, however, there lurked a serious addiction to drugs which derailed his career several times. By the time Chet came out, the trumpeter had already been incarcerated for drugs offences. Despite his many travails, he sounds in good shape on an album that focuses exclusively on his trumpet playing rather than his vocals.
Undoubtedly one of the greatest jazz albums ever. Davis leads a stellar sextet that includes saxophonists John Coltrane and Cannonball Adderley, plus Bill Evans on piano. They find the Norristown organ-grinder in the company of tenor saxophonist Stanley Turrentine, guitarist Kenny Burrell on two tracks and drummer Donald Bailey. Influenced by Charlie Christian, Montgomery patented a distinctive and dexterous style that combined horn-like single-note melodies with block chords and unison octaves.
This was his third album, recorded in New York with a quartet that contained pianist Tommy Flanagan, and the Heath brothers, Percy and Albert, on bass and drums, respectively. Key cut : Four On Six Bill Evans Trio: Waltz For Debby Riverside, A deeply sensitive musician who possessed an extraordinary musicality and exquisite good taste, Evans pioneered a singular approach to the piano that reflected his interest in classical music especially the work of the Romantic and Impressionist composers as much as jazz.
The high point of piano trio music. Helmed by producer Creed Taylor, who had just launched Impulse! A rewarding summit of jazz giants.
A sublime meld of American jazz and Brazilian bossa nova, and a great intro to this moment in jazz history. Key cut : Maiden Voyage Looking for more? Discover the best jazz albums of all time. Ummm… Clearly you missed the point. For the dilettante, Ornette would certainly be too advanced and likely offputting while the titles listed act as gateways into the genre, being access points. Free jazz is most certainly not the place to start for the uninitiated.
Different people will have different routes in. Casting the net a little wider might have been a better idea. If you think one of your friends is ready for it, take them straight to free jazz. However, a larger population of folks will be aware of, at least Sarah Vaughn, before they get introduced to Ornette, and an even smaller population of those introduced to free jazz, will enjoy it.
I can imagine Ornette Coleman might have been a bit inaccessible in or even a decade later. But now? Our ears have gotten used to much stranger sounds. Hear, hear! Now I have a decent jazz collection that includes Ornette Coleman. Go figure. I grew up with te bands of Stan Kenton and Duke Ellington. My dad was and still is a big fan. These 20 albums are a solid way of getting into Jazz and exploring further. More accessible. I would choose Brilliant Corners or any of his Prestige albums myself.
Monk was a genius. As for MJQ — before I learned to appreciate jazz, hearing them put me off listening to contemporary jazz for ten years! This is not an exaggeration for effect but simply the truth. Chet played trumpet like Miles, sang like Sinatra, and looked like a movie star James Dean specifically.
If I were going to get someone interested in Jazz I would never exclude Jazz made after The wider breadth of music made since then offers countless wonderful avenues into Jazz with more chances to resonate with new listeners and encourage them to explore the rich tapestry that we all enjoy.
I agree with you George Greene. I also think everyone needs to listen to Whipped cream and other delights by Herb Alpert. Good point. Pick your favorite old rock star; he probably has a jazz standards album out now! I must agree with my fellow lovers of Jazz.
It is an incomplete list. If one was going to introduce someone to this wonderful world, there MUST be an inclusion of one of the greatest groups that made the scene and went on for over 40 years: The MJQ.
A very odd list, either as the 20 best or the 20 entry points. I am not a fan of vocalists so I have left out Billie Holiday et al. Not enough room for such a short list. Especially if trying to include post jazz.
Kind of Blue for Miles Davis 2. Mingus Ah Um for Charles Mingus 4. Louis Armstrong Hot 5 and Hot 7 sessions—the source of his fame 6. Bill Evans Live at the Village Vanguard—definitive trio 8. Thelonious Monk Genius of Modern Music—toss up between the two volumes, no. Carla Bley Social Studies Fats Waller piano sessions Herbie Hancock Maiden Voyage Dizzy Gillespie Big Band sessions You got it going on.
Your list is great! So, not a part of this list. I thought the original list was fine, until I saw yours. Woody Herman, Stan Kenton. How about the complete JATP series that catapulted many of the jazz greats to fame, complements of Norman Granz, the first breaker of color lines and supreme promoter of jazz.
Is Ornette too difficult? The Koln Concert by Keith Jarrett was what drew me in. It appealed to my enjoyment of classical music yet there was a lot more. I would have to put that on my list of ten that would be godo starters. If anything, all the comments provided demonstrate the uselessness of this listing. What do we need lists on subjects that are purely depending on personal tastes?
I disagree with the comment about lists. They inform and stimulate. No reasonable person takes them as definitive, but there are also no bad choices on this list, discussion ensued, learning happened. Lists are great. How about a list of the ten worst? The albums I typically play for people who are newish to jazz nieces, nephews, etc. There are so, so many amazing entry points to this wonderful category of music….
Luckily they chose Tubby Hayes and he was brilliant. Went on to record with Paul. Tubby should be on the list. Country and soul have always had a tenuous connection, undoubtedly exacerbated by the racial identifications of their respective fanbases. Yet despite the perceived disconnect between the two genres, the populist formats of both have always been more fluid and contiguous than is traditionally recognized. With his Modern Sounds in Country and Western MusicRay Charles created the benchmark for crossing the line, highlighting the similarities in sentiment often overshadowed by sound.
Summing up on the impact Modern Sounds had on country music and listeners, writer Daniel Cooper states, "There is no telling how many people, who perhaps never paid much attention to country music or even had professed to dislike it, listened anew based on the impact of having heard what Ray Charles was capable of doing with that music. Records, and various appearances at country music events, including The Johnny Cash Show in and the Grand Ole Opry 's 58th anniversary inthe program to which he listened as a youth.
Following the album's release, Charles quickly earned an influx of white listeners and audiences at concert venues, without experiencing any fall-out from his predominantly black audience.
It just really does. Through conceiving and recording the album, Charles became one of the first African-American musicians to receive and practice artistic control bestowed upon by a mainstream record company. Soon Charles's down-home diction, cotton-field grit, corn-pone humor and overstated shows of emotion were standard operating procedure in American musicblack and white.
In addition to its social implications, the musical integration of soul and country into popular format by Charles changed and revolutionized racial boundaries and restraints in music, and contributed to the historical Civil Rights Movement.
In addition to the album's legacy as one of the most influential recordings of all time, Modern Sounds also had an effect on Charles's later work. On the album's influence, columnist Spencer Leigh of The Independent stated that "Numerous artists followed Charles's lead, but it must be said that Charles himself repeated the trick much too often. The collection features the two volumes of Modern Soundsas well as his later country singles for Warner Bros.
From Wikipedia, the free encyclopedia. Ray Charles. The song is about unrequited love and has a string-laden production. The love song contains horn arrangements and elements of West Coast jazz. The best-selling hit single became one of Charles's most critically acclaimed and well-known recordings. Hal Leonard Corporation.
ISBN X. Retrieved March 30, — via Google Books. Retrieved March 29, — via Google Books. The Village Voice. Retrieved December 24, Retrieved on Rolling Stone. The New York Times Company.
His use of the pitch bend wheel made a keyboard sound like an electric guitar. The Mahavishnu Orchestra was influenced by both psychedelic rock and Indian classical music. The band's first lineup broke up after two studio albums and one live album, but McLaughlin formed another group under the same name with Jean-Luc Pontya jazz violinist and one of the first electric violinists. Jazz and rock music have played an integral part in society throughout the s and s.
Jazz populated the airwaves throughout the s and s. Jazz of the s was commonly referred to as Bebop which is characterized by fast tempo, complex chord progressions, and numerous key changes. In the year you had the breakthrough jazz record Kind of Blue recorded by the great Miles Davis.
This record has been quoted as the "greatest jazz record of all time". This was the first modal jazz record and shaped the sound for jazz of the s and s. For this record Miles Davis brought sketches to the studio with no sheet music. Just telling the musicians to play what they feel and listen to each other. While the record was improvised and loosely sketched it has sold millions of copies and has made a remarkable staple in the jazz community.
The Free Spirits have sometimes been cited as the earliest jazz rock band. George Duke and Aynsley Dunbar played on both. The jazz artists of the s and s had a large impact on many rock groups of that era such as Santana and Frank Zappa. They took jazz phrasing and harmony and incorporated it into modern rock music, changing history as we know it and paving the way for artists that would follow in their footsteps.
Carlos Santana in particular has given much credit towards Miles Davis and the influence he had on his music. While Miles Davis combined jazz with Modal and Rock influences, Carlos Santana combined these along with Latin rhythms and feel shaping a whole new genre latin rock. Taking various rhythms, instrumentation, musical theory, and soundscapes from the jazz realm and bringing it into rock music and all that it had to offer.
According to AllMusic, the term jazz rock "may refer to the loudest, wildest, most electrified fusion bands from the jazz camp, but most often it describes performers coming from the rock side of the equation Since rock often emphasized directness and simplicity over virtuosity, jazz rock generally grew out of the most artistically ambitious rock subgenres of the late '60s and early '70s: psychedeliaprogressive rockand the singer-songwriter movement.
According to jazz writer Stuart Nicholson, jazz rock paralleled free jazz by being "on the verge of creating a whole new musical language in the s". He said the albums Emergency! In the s, American fusion was being combined in the U.
Jazz metal is the fusion of jazz fusion and jazz rock with heavy metal. The genre is closely related to mathcoreprogressive metaland punk jazzas well as its microgenres. Rollins Band has been known to combine heavy metal with jazz,  and starting in the late s, King Crimson began to explore industrial metalblended with their progressive rock sound.
Similarly, Animals as Leaders ' albums The Joy of Motion and The Madness of Many have been described as progressive metal combined with jazz fusion. Albums under Taylor's guidance were aimed at both pop and jazz fans. Michael and Randy Brecker produced funk-influenced jazz with soloists. Music reviewer George Graham argues that the "so-called 'smooth jazz' sound of people like Kenny G has none of the fire and creativity that marked the best of the fusion scene during its heyday in the s.
In the s, another kind of fusion took a more hardcore approach. In London, The Pop Group began to mix free jazz and reggae into their form of punk rock.
Examples of this style include Lydia Lunch 's Queen of Siam James Chance and the Contortionswho mixed soul music with free jazz and punk rock, and the Lounge Lizards the first group to call themselves punk jazz. John Zorn took note of the emphasis on speed and dissonance that was becoming prevalent in punk rock and incorporated them into free jazz with the release of the Spy vs Spy album in The album was a collection of Ornette Coleman tunes played in the thrashcore style.
M-Base "macro-basic array of structured extemporization" centers on a movement started in the s. Afro-Cuban jazz, one of the earliest forms of Latin jazzis a fusion of Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. In the collaborations of bebop innovator Dizzy Gillespie with Cuban percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, most notably the congas and the bongos, into the East Coast jazz scene.
This would also be true of artists such as Tom Browne and Angela Bofill, who was coaxed into leaving GRP by Davis for a more lucrative deal with the label that resulted in watered-down drum machine material much like Browne's. In later years, after her short-lived success under Grusin and Rosen's tutelage, Bofill would suffer some personal health-related setbacks after recording with various different labels throughout the 80's and 90's.
Browne's career would not take off after such a promising start and ended up much like Bofill's throughout the rest of the 80's and Browne tried to return to his roots throughout the s without much success.
Soon they would make a very important decision that would change the history of jazz, since both Grusin and Rosen both strongly felt that all of the albums they had produced for most labels were getting the "back of the bus" treatment without proper advertising or promotion. They were also disappointed that the albums they produced were not released or available at record stores on their release dates. Taking in all of these factors, Grusin and Rosen formed a record company because they wanted to be in control of all of these factors.
The Compact Disc Player and Compact Disc were introduced that year in Japan; Grusin and Rosen were intrigued by its audiophile sound and it was something they felt would be vital to the growth of the company. Now established as a record company, Grusin and Rosen were pushing forward and thinking of the future and how to make the label stand out with the evolving technology of the times. Grusin and Rosen figured that the compact disc   with its optical and audiophile capabilities would be a very important part of what they were trying to do to make the label successful, which was to produce high-quality recordings with the best sound and production available to them including recording venues, musicians and orchestras.
After much research, the Glenn Miller Band was chosen to be the first album recorded for their company in January The album In The Digital Mood not only became a popular album after its release selling more thanunits, but also one of the label's greatest selling albums to this day, and was recognized as such in with a "Gold Edition". The label during this period would be known mainly for its fusion work, but two of the first three releases were the straight-ahead jazz albums by Glenn Miller Band and Mulligan.
Another vital addition was recording the great Dizzy Gillespie, which helped the label even more as Grusin and Rosen teamed him up with the best of the young jazz musicians performing at the time, including saxophonist Branford Marsalis and pianist Kenny Kirkland for the album New Faces. Compact discs were carried in limited supply in record stores but were available wherever CD player systems were sold at that time when they were first released.
Knowing this, Grusin and Rosen produced CD Samplers three in three different volumes from —87    that showcased the artists on the label, the sound Various - The Gold Collection: Modern Jazz (CD), and performances due to the lack of other record labels having joined the format at that time which lasted untilwhen a lot of the record labels made the transition to the CD format.
These CDs did help gain the label an audience with the audiophiles who first bought these machines and also, to expand the label in format. Their first batches of pressed discs from until came directly from Japan by the JVC Corporation, which are audiophile in quality and were quality produced recordings that truly displayed the dynamic range of the performances, unlike an LP or cassette. InGrusin would release his second purely digitally recorded album and his first one for his label, Various - The Gold Collection: Modern Jazz (CD) which used even more contemporary digital equipment and instruments not unlike his effort for Arista Records, Mountain Dance.
So would artist Billy Cobham and his purely digital album, Warningwho recorded this album during the year. Grusin and Rosen were approached by the JVC Corporation late in to represent them because of their standards for the highest quality in recording and for their well-regarded albums for the latest in their Various - The Gold Collection: Modern Jazz (CD) technology. So for the first time under their own banner, the label conducted its first live tour around Europe and the US during the Summer of Eventually, the label decided to have a "live session" which was videotaped at the Record Plant Recording Studio in Los Angeles, California  as well featuring all of the members of that travelled that included Grusin, Ritenour, Valentin, Schuur and their GRP recording members.
Grusin provided the original musical score for the film, but the film had been tracked by music from Grusin's breakthrough digital album, Mountain Dance which became the main theme for the film despite writing a purely jazz score in the same vein. Inthe label released their first-ever soundtrack to any motion picture for the drama, American Flyers starring Oscar winner Kevin Costnerwhich was composed and performed by Lee Ritenour and Greg Mathesonwho were with the label exclusively at the time.
Lee Ritenour would make his "official" debut for the label after his contract with Elektra Records had ended and his debut album was his pairing with founder Dave Grusin on the album, Harlequin, which melded Brazilian and American styles of jazz together on one of the most popular albums for the label.
InEddie Daniels  would make his Grammy-nominated debut for the label with Breakthrough which was a fusion album of a different sort as Daniels' clarinet solos were mixed with a huge London Orchestra creating a very elaborate and popular album that melded both jazz and classical together.
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