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Home , Albert Mangelsdorff, Black Swan Records, Don Pullen, Enrico Rava, Steve Coleman

On Developing a Recordings Collection

Nou Dadoun & Computer Science Department, Langara College, Vancouver

As the proprietor of a recordings store which dismal sales. This disdain for the bottom-line is specializes in jazz and related musics, I'm not likely these days. periodically approached by customers who have At the present day, more historical recordings of a long-standing apprehension about jazz, jazz are in print than ever before. The effect of sometimes bordering on fear. These people often CD marketing has been to revitalize the want to know what the fuss is about, perhaps recording industry (not just for jazz) by selling they've heard something they liked (or didn't) peoples' record collections to them again in a and want to explore and conquer this multi- new more convenient format. The result is that headed monster. many companies have discovered that they can If the customers are librarians, they may feel that make substantial profits by mining their vaults the public service that they provide for with reissue programs, remastering, bonus tracks, education, casual interest or entertainment would lavish box sets offering the most complete ...etc. be enhanced by developing a collection of etc. Giant entertainment corporations "suitable" jazz recordings, according to some (Time~Warner,Sony, and Phillips, for example) recognized standard. As a jazz enthusiast (read have acquired many smaller companies and nut), I can only agree and try to offer some labels for access to their back catalogues. These personal reflections. comprehensive reissue programs owe more to marketing than philanthropy, but it has provided Let's begin with a working definition: Jazz is a access to important recordings which have been music which has an element of improvisation largely unavailable for many years. and which has developed out of what has commonly been accepted as the "Jazz Tradition". It's not sufficient to look at the major labels to Figures as widely respected as Glenn Miller, see the whole picture: much of the exciting and Anthony Braxton, and Dizzy Gillespie have been controversial developments of jazz are, and have accused in their respective times of not playing been, documented on smaller international labels "jazz". Let's not split hairs, we can simply such as Hat Art, Soul Notemlack Saint, recognize that jazz is a very large umbrella DIWIAvant, Silkheart, FMP, Tzadik, ECM, which continues to grow. Sound Aspects, JSP, and Nine Winds. Many successfU1 contemporary players currently on It is interesting and ironic that the history and major labels made their initial recordings on development of this most ephemeral of musics, these smaller less-known labels, such as Joe "into the air never to be heard again" as Eric Lovano on Soul Note, on ECM or Dolphy put it, roughly parallels the development David Murray on India Naviagation. of the recording technology which has transformed it into a commodity. Jazz is treated Many jazz enthusiasts speculate that the bubble as a product and as such is subject to the has to "burst" at some point. In 1995 CD sales vagaries of marketplace and corporate strategies. declined for the first time since their It's well known that Columbia recorded Duke introduction. Indications are that the market for Ellington in the late 50's and early 60's for the jazz and other music with a mature demographic prestige value of his association in spite of may be on the wane, at least until the cycle restarts with another "perfect" format. Strategies 1930s The most important consideration in developing Growth of radio broadcasts and recordings, strengthened regional styles and "territory" a jazz recording collection is to have a strategy. The strategy may be influenced by clientele, or bands: e.g. Benny Moten/Count Basie in budget, or current specialization (from a bequest Kansas City; many swing and jazz bands for dancing, jazz is the predominant "popular" or legacy). It may come from a desire to develop music a comprehensive collection representative of all 1940s major artists and styles or specialized around Extended recording ban (because of radio), theme, personality or genre, e.g. Canadian or musicians develop "art" music not for dancing: Duke Ellington or Third Stream. (complicated, chord-based My focus is on the development of a improvisation, often at very fast tempos), New representative collection, and I outline some York's 52 Street is hub of Jazz World, by end sample strategies to construct a framework from of decade most big bands too expensive to be which to begin. I'll finish with some maintained and go into decline, Jazz At The recommendations for resources which I have Philharmonic (JATP) tours the world found useful in developing my own background 1950s and collection. First LPs - jazz performances and recordings stretch out. Further experiments: Cuban expatriates in New York influence Latin Jazz; Sample strategy: Era some jazz players develop several simplified This is a thumbnail sketch of the various derived styles: Jump blues --> Rhythm developments in jazz from the turn of the n' blues --B Rock n' Roll, Hard Bop, early century to the present day. It is important to funk jazz; development of first jazz festivals; realize that jazz, like any art form, does not strong west coast players; Third Stream develop in a vacuum; integral to any complete attempts to mix jazz improvisation with understanding of jazz is the social milieu in "classical" composition; jazz organists start which it has developed: race relations in some funkier jazz styles in move towards America, constraints of the recording and dance music broadcast technologies, the marketplace which 1960s, 1970s dictated working conditions and recording Growth of modal jazzlimprovisation (Davis' opportunities for musicians and so on. Kind of Blue); musicians experiment with relaxing constraints moving towards free improvisation; expatriate US musicians in Pre 1900 - 1917 Europe plant seeds for thriving alternative Early African influences, field hollers, early branches of jazz; more cross-fertilization: Soul blues, ragtime, early New OrleansICreole Jazz, Bossa Nova, Rock- puts influence, collective improvisation, Storyville energy into music, growth of funk jazz; rock is diaspora predominant popular music 1918 - 1929 1980s, 1990s and beyond Growth in , NY, West Coast; early First CD's extensive reissue programs, more recordings on 78 RPM records with 3 minute use of technology, more cross-influences in limits required tight arrangements, NORKs, jazz: Acid Jazz draws on funk, sampling and development of "regional styles" out of hip-hop, World jazz draws on everything from traveling musicians, early big bands, alphorns to gamelans to Moroccan Ganawa to developing into "soloists" art didgeridoo; while music diversifies, big record companies get more conservative - further exploit back catalogue and record many young players searching for "next big thing"; many Pre-Jazz/BluesRagtime interesting new recordings from smaller Scott Joplin, , Robert Johnson, international labels. James P. Johnson, Wiilie "the Lion" Smith, Luckey Roberts Sample strategy: Important Innovators New Orleans/ Jazz These are figures which have played a pivotal King Oliver, , Jelly Roll and influential role in the development of jazz in Morton, Sidney Bechet their own and following eras. Interestingly, at Early Big Band (Sweet bandsmot-Jungle bands) least two of these figures (Monk & Mingus) , Duke Ellington, Count have such strong personal styles that they don't Basie, Jimmy Lunceford, Benny Carter, Count fit easily into any of the style categories of the Basie next section. Swing Era Louis Armstrong Benny Goodman, Lionel Hampton, Woody first important jazz soloist, innovations in both Herman, Artie Shaw, Dorsey Bros., Glenn playing and singing Miller Duke Ellington Bebop strength of band and compositions in many Charlie Parker, Dizzy Gillespie, , styles ranging almost 50 years Bud Powell, Tadd Darneron, Max Roach Charlie Parker Hard Bop prime originator of bebop, gifted soloist Miles Davis, Sonny Rollins, , Miles Davis Clifford Brown, Max Roach, Horace Silver, consistently high standards, repeatedly a leader Sonny Clark, Hank Mobley, , in new directions for music Lee Morgan Thelonious Monk Cool JazzIWest Coast/Pacific Jazz iconoclastic approach to composition and Paul Desmond, Dave Brubeck, , playing style , Art Pepper, Shelly Manne, Stan Getz iconoclastic approach to composition and Modal Jazz playing style, workshop developed many Miles Davis, Bill Evans, John Coltrane, Keith players of high calibre Jarrett John Coltrane "Free" or 60's Avant Garde Jazz last of important players from the big band , John Coltrane, Albert Ayler, tradition, developed modal and free , Pharoah Sanders, , improvisation in search for spiritual side of AACM, , Anthony jazz Braxton, Sun Ra, Ornette Coleman Latin Jazz iconoclast, strong blues derived playing, Tito Puente, Machito, Arturo Sandoval, experiments in Dizzy Gillespie, Cal Tjader, Eddie Palrnieri Fusion (Rock Jazz) Sample strategy: Styles Miles Davis, Herbie Hancock (Headhunters), These are major styles which have developed out Crusaders, Chick Corea (Return to Forever), of the jazz tradition and a short incomplete list Weather Report, Blood Ulmer, David Sanborn, of the important figures associated with each of John McLaughlin (Mahavishnu Orchestra), these styles. Some of these artists (notably Miles Kazumi Watanabe, Brecker Brothers Davis) fit into several stylistic categories at FunWAcid Jazz various times within their career. Horace Silver, Jimmy Smith, Big John Patton, Hank Crawford, Ray Charles, Medeski Martin & Wood, James Brown Third Stream Pepper, Omette Coleman, , Stan Kenton, Modern Jazz Quartet, Duke Anthony Braxton, Arthur Blythe, John Zorn Ellington, Gunther Schuller, , Ran Trumpet Blake, George Russell, Vienna Art Orchestra Louis Armstrong, , Roy World Jazz Eldridge, Dizzy Gillespie, Miles Davis, Jan Garbarek, Zakir Hussain, Abdullah Clifford Brown, Lee Morgan, Freddie Hubbard Ibrahim, Chris McGregorA3rotherhood of Trombone Breath, Hermeto Pascoal, , Antonio Kid Ory, Jack Teagarden, JJ. Johnson, Curtis Carlos Jobim, John McLaughlin/Shakti, Astor Fuller, George Lewis, Albert Mangelsdorff, Piazolla, Milton Nascimento, Paul Ray Anderson WinterIOregon Piano ContemporarytLater Big Band Earl Hines, Albert Ammons, Fats Waller, Duke , Toshiko AkiyoshiILew Tabackin Ellington, Count Basie, Art Tatum, Bud Big Band, Gil Evans, Duke Ellington, Clarke- Powell, Thelonious Monk, Lennie Tristano, Boland Band, Maria Schneider Horace Silver, Bill Evans, McCoy Tyner, European Avant-Garde school Herbie Hancock, , Cecil Clusone Trio, Willem Breuker (Collectif), Taylor, Don Pullen, Marilyn Crispell Peter Brotzmann, Albert Mangelsdorff, Evan Guitar Parker, Barry Guy (LJCO), Misha Mengelberg Eddie Lang, Lonnie Johnson, Charlie Christian, (ICPO), Alexander von Schlippenbach (GUO), Django Reinhardt, Freddy Green, Wes Enrico Rava, Derek Bailey (Company), Steve Montgomery, Grant Green, Joe Pass, Jirni Lacy Hendrix, Pat Metheny, , Bill NY "Downtown" Avant-Garde schooYKnitting Frisell Factory Bass John Zorn (Radical Jewish Culture), Jazz Jimmy Blanton, John Kirby, Charles Mingus, Passengers, John Luriekounge Lizards, Mark Reggie Workman, Jimmy Garrison, Jaco Feldman, Steve Coleman (MBASE), Mark Pastorius, , Charlie Haden Helias, Dave Douglas Drums Neo-traditionalistsNoung Lions Sid Catlett, Gene Krupa, (Papa) Joe Jones, Wynton Marsalis, Harper Brothers, Marcus Max Roach, Philly Joe Jones, Art Blakey, Roberts, Joshua Redman, Teodros Avery, Elvin Jones, , Han Bennink, James Carter Joey Baron Vocalists Sample strategy: Instruments Louis Armstrong, Billie Holiday, Ella These are innovators on their respective Fitzgerald, Sarah Vaughan, Billy Eckstine, Nat instruments given in roughly chronological order King Cole, Joe Williams, Eddie Jefferson, (not in order of importance). There are of course Dinah Washington, Lambert Hendricks & other instruments used in jazz particularly in Ross, Betty Carter, World Jazz: soprano saxophone, cello, violin, timbales, etc. Tenor Saxophone Sample strategy: Samplers & Labels Coleman Hawkins, Ben Webster, Lester A good place to start may be with a collection of Young, Dexter Gordon, Paul Gonsalves, Sonny thematic compilations, each organized around Rollins, John Coltrane, Wayne Shorter, one of the groupings given above. With a little Albert Ayler, David Murray care and good luck, a reasonably small collection Alto Saxophone can give a representative sample and a good Johnny Hodges, Benny Carter, Charlie Parker, starting point for further development and Cannonball Adderley, Paul Desmond, An exploration. However, in these days of repackage/remaster/remix/remodel, the gems can All Music Guide Michael Erlewhine et a1 (Ed.). be hard to find. Biography Reference [Miller-Freeman 3rd An outstanding historical compilation is: Edition 19971. The Smithsonian Collection of Classic Jazz, a The l01 Best Jazz Albums - A History of Jau on 5 CD set which in 94 tracks covers many of the Records. Len Lyons. Historical Reference [Quill bases touched on in the above strategies. 1980, out of print]. Harmony Illustrated Enc. of Jau. Brian Case & Compilations of artists associated with a Stan Britt. Biography Reference [Harmony 4th particular label can also be a good starting point. Edition 19941. These are some of the more reliable labels which have produced good collections along with their The periodicals listed here generally provide parent company where applicable. interesting record reviews and artist profiles. Blue Note, Roulette, United Artists, Pacific They are listed in decreasing order of Jazz [Capitol] importance, Option and Wire (while interesting Original Jazz Classics/OJC, Riverside, Prestige, for other reasons) have diversified to the point Milestone, Pablo [Fantasy] where they only occasionally have content Brunswick, Decca, Impulse, GRP [MCAIUni] interesting to someone focusing only on jazz. Verve, Mercury, Emarcy [Polygram] Bluebird, RCA Victor, ECM [BMG] Cadence. The hardcore reference, no fancy Columbia [Sony] layout, just lots of useful information; also a record distributor; Cadence Building, Redwood, Print Resources NY 13679 Phone: 3 15-287-2852. I have found the following reference works Coda. The Canadian connection for Jazz since useful as a general survey. I have categorized the 1958. Box 1002, Station "0", Toronto Ontario following as a biographical reference or M4A 2N4. Phone: 416-593-7230. historical reference depending on how the Downbeat. Jazz, Blues & Beyond; 64 years and information is organized. This is far from a going strong. 102 N. Haven Rd., Elmhurst, comprehensive list, for example I omit the , 60126-3379. Phone: 630-941-3210. Leonard Feather Encyclopedias of Jazz (which is Jau Times. Improved considerably in recent showing its age) and the many wonderful books years. 8737 Colesville Road, Fifth Floor, Silver on jazz criticism available. One could continue Spring, Maryland 20910-3921. Phone: 800-866- with some of the informative jazz musician 7664. biographies and discographies, such as Jauiz. A little on the light side. PO Box 10558, Cuscuna's Blue Note Label Discography or Riverton NJ 08076-0558. Phone: 800-685-7970 Tom Lord's massive discography. (US only). The Wire. Units G & H, 115 Cleveland Street, Penguin Guide. Richard Cook & Brian Morton. London W 1P 5PN England. Phone: 01-580-7522. Biography Reference [Penguin, 3rd Edition Option. 2345 Westwood Blvd. #2, Los Angeles 19961. CA 90064. Phone: 3 10-474-2600. Jazz: The Rough Guide. Ian Cm, Digby Fairweather & Brim Priestley. Biography The internet resources available are still pretty Reference [Rough Guides 19951. primitive, sadly enough the most useful resource Blackwell Guide to Recorded Jazz. Barry is still the rec.music.bluenote usenet Newsgroup Kernfeld (Ed.). Historical Reference [Blackwell although it has suffered a terrible decline in 2nd Edition 19951. signal to noise ratio in recent years. All Music Guide to Jau. Michael Erlewhine et a1 There are numerous web sites available (Ed.). Biography Reference [Miller-Freeman 2nd containing on-line discographies and label Edition 19961. catalogues but these are not of general usage in Jazz has always been a music of innovation and this context. The All Music Guide does have a assimilation, like a tree it is easy to recognize the searchable website and I plan to install this trunk and branches when it is young, an older current article as part of a future Black Swan tree has many offshoots and influences. The jazz Records web site. revolution is by no means over, it is just a little harder to recognize. Conclusions One of the attendees of the CAML meeting at [An expanded version of a paper given at the which this talk was originally presented CAML Conference in Vancouver, June 1996. (Vancouver, June 1996) noted that the list of The author may be contacted at: Black Swan important innovators seems to end with Ornette Records, 3209 West Broadway, Vancouver BC Coleman who made his most significant V6K 2H5, or [email protected]] innovations in the 60s and asked "Is jazz dead?'.