Chet Baker: The Prince Of Cool

Chet Baker was the leading trumpeter in the West Coast jazz movement, also referred to as cool jazz. Influenced by Miles Davis, he forged his own lyrical trumpet style that put him on a path to great success in the early '50s.

In 1951, Baker he was given the opportunity to play with one of the innovators of bebop, Charlie Parker. This lead to his 1952 collaboration with saxophonist Gerry Mulligan in a pianoless quartet. This group had huge success and boosted Baker into the spotlight. From this point forward, Baker's life was never the same.

He has played with a plethora of jazz greats (besides the ones already mentioned): Stan Getz, Shelly Manne, Russ Freeman, Art Pepper, Johnny Griffin, Al Haig, Bill Evans, Paul Chambers, Philly Joe Jones, Herbie Mann, Bobby Timmons, Bob Brookmeyer, Bud Shank, etc.

However, like many great jazz musicians, Baker's personal life was plagued by drug addiction and this eventually led to his death in 1988. Baker was 58 years old.

Here are some recordings to check out:

Gerry Mulligan - The Original Quartet With Chet Baker

Chet Baker - In New York

Chet Baker - In Milan

Chet Baker - Lonely Star: The Prestige Sessions

Chet Baker - On A Misty Night: The Prestige Sessions

Chet Baker - Stairway To The Stars: The Prestige Sessions

Chet Baker - Chet

Chet Baker - Chet Baker & Crew

Chet Baker - Quartet Featuring Russ Freeman

Chet Baker - The Complete Barclay Sessions

Bill Evans - Innovator Of The Jazz Trio

Very few jazz pianists have influenced other musicians besides pianists than the playing of Bill Evans. Evans created music that owed as much to jazz music as it did classical. He could create so many moods, but there was a purity about his music. It wasn't about how many notes or chords he could play in 3 minutes, it was more about a feeling that he was trying to convey and express to the listener. This aspect of his music is what made him different and a favorite among his peers.

Evans gained notice from playing in the bands of Charles Mingus, Oliver Nelson, and Art Farmer, but it was a session in 1959 for Miles Davis called "Kind Of Blue" that put him on the map. "Kind Of Blue" ended up being one of the best selling jazz records of all time. This alone, secured Evans' place in jazz history, but it was his innovations a year or so later that put him on the path to becoming the jazz legend he's regarded as today.

What Evans did with his trios was unlike any other piano trio in the history of jazz. Instead of a bass player playing a simple walking bass line and the drummer playing a simple 4/4 rhythm, Evans arranged the music to include dynamic new interplay never heard in a jazz piano trio, which resulted in more intricate improvisations from the musicians. They really had to listen to each other, which is not to say this didn't happen before, but Evans was able to make this concept sound new.

Throughout the years until his death in 1980, Evans recorded mainly with piano trios, as this was his favorite format, but he did several recordings that are notable with larger groups. Some musicians that Evans has played and recorded with throughout his career include: Miles Davis, Cannonball Adderley, John Coltrane, Paul Chambers, Philly Joe Jones, Charles Mingus, Scott LaFaro, Paul Motian, Freddie Hubbard, Jim Hall, Marc Johnson, Grady Tate, Stan Getz, Lee Konitz, and the list goes on.

Here is a list of selected recordings that everyone should own:

Miles Davis - Kind Of Blue - Columbia Records
Bill Evans Trio - Portrait In Jazz - Riverside Records
Bill Evans Trio - Explorations - Riverside Records
Bill Evans Trio - Waltz For Debby - Riverside Records
Bill Evans Trio - Everybody Digs Bill Evans - Riverside Records
Bill Evans Trio - Sunday At The Village Vanguard - Riverside Records
Bill Evans Trio - Moonbeams - Riverside Records
Bill Evans - Interplay - Riverside Records
Bill Evans Trio - I Will Say Goodbye - Fantasy Records
Bill Evans Trio - You Must Believe In Spring - Warner Bros. Records

Bud Powell - The Godfather Of Modern Jazz Piano

"Bud is a genius." said Charlie Parker. "Bud is a genuine genius." asserted Duke Ellington. "If I had to choose a single musician according to his artistic merit and the originality of his creation, but also for the greatness of his work, it would be Bud Powell. Nobody could measure up to him." replied Bill Evans. "No one could play like Bud; too difficult, too quick, incredible!" exclaimed Thelonious Monk.

These are just a few quotes from other legends of jazz to describe the piano playing of one of the greatest jazz pianists that ever lived. It is without a doubt on any great jazz musician's mind that Bud could swing like no other pianist before or after him. Those lightning quick single-note runs, quick thunderous chord voicings that seem to just fall from the sky, and the mind-blowing creativity that seemed to flow from him effortlessly are what makes Powell a legend.

In 1947, Powell recorded his first session as a leader with Curly Russell on bass and Max Roach on drums for Roost Records. Through the years, Powell formed trios with other great musicians like Buddy Rich, Ray Brown, Percy Heath, George Duvivier, Art Taylor, Lloyd Trotman, Osie Johnson Art Blakey, and Kenny Clarke for Verve Records. He also recorded for Blue Note Records, Columbia Records, Norgran Records, Clef Records, and Mercury Records.

Here are is a selected list of recordings every jazz fan should own:

Bud Powell - The Complete Bud Powell On Verve - Verve Records
Bud Powell - The Amazing Bud Powell, Vol. 1 - Blue Note Records
Bud Powell - The Amazing Bud Powell, Vol. 2 - Blue Note Records
Bud Powell - The Scene Changes - Blue Note Records

Clifford Brown - Brownie Speaks

Clifford Brown influenced so many jazz musicians in his lifetime that it's hard to fathom he only recorded for a short period of time before his life was cut short. Clifford Brown joined forces with drum phenom, Max Roach, in the mid-50s to produce some of the hardest swinging jazz music ever recorded.

Brown had a very personal approach to playing the trumpet. This approach has influenced everybody from Freddie Hubbard to Lee Morgan to Woody Shaw. He had a very pure tone. He was the opposite of Miles Davis. Brown would play a lot of notes in an uptempo tune and really just improvise all of these beautiful series of notes. He simply could phrase almost better than any trumpeter before or after him.

Brown's own groups with Max Roach have produced several fine musicians most notably Harold Land and Sonny Rollins. Here are several recordings worth owning:

Clifford Brown/Max Roach - 1955 Emarcy Records

Clifford Brown/Max Roach Quintet - Brown and Roach, Inc. - 1954 Emarcy Records

Clifford Brown/Max Roach - Study In Brown - 1956 Emarcy Records

Clifford Brown - With Strings - 1955 Emarcy Records

At Basin Street - 1956 Emarcy Records

Art Blakey - Delivering The Message

Art Blakey could seriously pound those skins, in fact, he pounded them harder than anyone. Art Blakey was joined by Horace Silver in early 50s to form a jazz group unlike any other. This group was called The Jazz Messengers. From this period on, this group became Blakey's main focal point.

Blakey was also a very demanding band leader. He once said "When you get on stage with me, you better blow." He was very serious too. If you didn't play your horn or your bass or your piano, he would pound you out. A strong characteristic of Blakey's bands were their ability to navigate through very fast syncopated lines and keep this energy and momentum going for a whole piece of music. Nobody played bebop like Blakey, nobody.

Most of Blakey's band members have gone on to do great things of their own: Lee Morgan, Wayne Shorter, Cedar Walton, Horace Silver, Donald Byrd, Freddie Hubbard, Bobby Timmons, Wynton Marsalis, Benny Golson, Walter Davis, Jr., Curtis Fuller, Terence Blanchard, Hank Mobley, and the list goes on.

Here are some essential Art Blakey recordings:

The Big Beat - 1960 Blue Note Records

Moanin' - 1958 Blue Note Records

A Night In Tunisia - 1960 Blue Note Records

Free For All - 1964 Blue Note Records

Caravan - 1962 Riverside Records

Ugetsu - 1963 Riverside Records

The Jazz Messengers - 1956 Columbia Records

Miles Davis: The Chameleon

Miles Davis had a sound on the trumpet unlike anyone before or after him. During his career, which lasted from the 40s through the early 90s, he established himself as not only an outstanding bandleader and trumpeter, but one of the innovators of jazz. He has helped develop bebop, modal jazz, progressive big band, avant-garde, jazz-rock, acid jazz, and fusion.

Davis' innovations can be traced all the way back to his days of playing on the bandstand with Dizzy Gillespie, Charlie Parker, and Coleman Hawkins. The year of 1949 saw a change in Miles' approach to music. Blue Note Records released "Birth Of The Cool" and this signaled a very different approach to jazz music at that time. It also marked his first meeting with composer/arranger Gil Evans with whom Miles would go on to work with on such notable recordings as "Miles Ahead" and "Sketches Of Spain."

Miles' music can be divided up into two eras: the acoustic and the electric era. I prefer his acoustic era, because it was during this time he played with some of the living legends of jazz music and because for the sake of these articles I'm trying to limit them to bebop only. Some notable Davis bandmates include: Sonny Rollins, Red Garland, John Coltrane, Wynton Kelly, Bill Evans, Paul Chambers, Cannonball Adderley, Jimmy Cobb, Herbie Hancock, Wayne Shorter, Ron Carter, Tony Williams, and the list continues. Miles' influence can be heard in all of these players and everybody else who has been associated or has been touched by his music.

Here is a list of what I consider essential Davis recordings:

Seven Steps To Heaven - 1963 Columbia Records
Miles Ahead - 1957 Columbia Records
Kind Of Blue - 1959 Columbia Records
Sketches Of Spain - 1960 Columbia Records
Porgy And Bess - 1958 Columbia Records
Relaxin' With The Miles Davis Quintet - 1956 Prestige Records
Steamin' With The Miles Davis Quintet - 1956 Prestige Records
Cookin' With The Miles Davis Quintet - 1956 Prestige Records
Workin' With The Miles Davis Quintet - 1956 Prestige Records
Bag's' Groove - 1954 Prestige Records

Birth Of The Cool - 1949 Blue Note Records

Thelonious Monk - A True Innovator Of Jazz

Thelonious Sphere Monk was one of jazz music's greatest composers and improvisers. What he did for jazz music was bring a unique harmonic vocabulary to the piano and a new understanding of single-note syncopation. 

Monk was also composer of the greatest jazz tunes ever written which are standards today like "Straight, No Chaser," "Ruby, My Dear," "Round Midnight," "Rhythm-a-ning," "Epistrophy," "Pannonica," "Well You Needn't," "Bemsha Swing," and many others.

Monk's own playing was also something that was very unique and no one could emulate. He had a very strange way of playing, many times he had a very hard touch and had kind of a percussive type of attack on the keys. This type of sound was very strong and his own harmonic sensibility was very dominate in a group. Many times horn players didn't know what to play over Monk's chords because they were unlike anything they have heard.

Monk has also played with some of the greatest jazz musicians to ever step a foot on the bandstand: Dizzy Gillespie, Charlie Parker, Coleman Hawkins, John Coltrane, Clark Terry, Art Blakey, Miles Davis, Sonny Rollins, Philly Joe Jones, Art Taylor, Phil Woods, Johnny Griffin, among others. Monk's own groups, and in particular, his long running quartet of Charlie Rouse, Ben Riley, and Larry Gales were also fine musicians that have been involved with his music. Tenor saxophonist Charlie Rouse was really one of the only saxophonists who got inside of his music and turned it inside out. Rouse had a firm grasp of Monk's musical concepts. Check out this interesting partnership in action on the documentary "Straight, No Chaser."

I would like to end this small article with some recommendations for both people new to his music and for people who are already fans but may not know what to buy next. Here is a list of recordings that I have found in my own opinion to be some of his best:

Straight, No Chaser - 1967 Columbia Records
Underground - 1968 Columbia Records
Monk's Music - 1957 Riverside Records
With John Coltrane At Carnegie Hall - 1957, 2005 Blue Note Records
Misterioso - 1958 Riverside Records
Genius Of Modern Music Vols. 1 & 2 - 1947-1952 Blue Note Records
The Complete Prestige Recordings - 1952-1954 Prestige Records
Monk's Dream - 1962 Columbia Records
Thelonious Monk Orchestra At Town Hall - 1959 Riverside Records