Product Description

A Love Supreme. Miles Ahead. Brubeck Time. Yardbird Suite. The Sidewinder. For newcomers just beginning their library of recordings, and for longtime fans looking to deepen their understanding, New York Times jazz critic Ben Ratliff offers an assertive, deeply knowledgeable collectors guide, full of opinions and insights on the one hundred greatest recorded works of jazz. From the rare early recordings of Louis Armstrong, through Duke Ellington, Benny Goodmans seminal Carnegie Hall concert, and the lions of the bebop era, to the transformative Miles Davis and several less-canonized artists, such as Chano Pozo, Jimmy Giuffre, and Greg Osby, who have made equally significant contributions, Ratliff places each recording in the greater context and explains its importance in the development of the form. Taken together, these original essays add up to a brief history of jazz, highlighting milestone events, legendary players, critical trends, and artistic breakthroughs.

Product Details

• Amazon Sales Rank: #367410 in Books
• Published on: 2002-11-06
• Original language: English
• Number of items: 1
• Binding: Paperback
• 272 pages

Features

• ISBN13: 9780805070682
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

From Library Journal
Ratliff, a music critic for the New York Times, presents essays on what he considers the 100 most important jazz recordings. In each, he discusses a recording's merits and shortcomings and includes a list of its performers. He seems to address the younger or potential jazz fan; otherwise, how could one explain his comparisons of mid-20th century jazz performances to those of Nirvana and Sonic Youth? Straight and to the point, Ratliff acts as an advocate for what he sees as a popular art form in need of an infusion of interest. This informative book is heavy on obvious albums by Miles Davis, Billie Holiday, John Coltrane, Ella Fitzgerald, and Charlie Parker, but the inclusion of Jeanne Lee, Bob Wills and His Texas Playboys, "Baby Face" Willette, and present-day phenomenon Jason Moran illustrates Ratliff's catholic view of the jazz genre. Also included is a list (title, main performer, date, and record label information only) of a second 100 recordings. This might not be a book that jazz fans will buy for their personal libraries-they have probably already formed their own tastes and list of favorites-but as a guide for the uninitiated it is essential for academic music libraries and public libraries large and small. It would also be most useful for collection development librarians building a well-rounded jazz CD collection.
James E. Perone, Mt. Union Coll., Alliance, OH
Copyright 2002 Reed Business Information, Inc.

From Booklist
Ratliff's essential jazz-records book separates itself from the herd at once by starting its chronological listing with The Creators of Jazz by the Original Dixieland Jazz Band, the white outfit that ever since it recorded jazz first has been tarred for crudely ripping off black music. Ratliff defends the ODJB's music making as well as its historic importance while granting that its leader may have been the worst racist in jazz history. Later, he includes, with warm appreciation, Latin jazz players Chano Pozo, Machito, Eddie Palmieri, and Moacir Santos, who aren't even listed in some huge jazz record guides. He has smart and persuasive essays on why underrated popular jazzmen John Kirby, Ahmad Jamal, and "Baby Face" Willette deserve places in the pantheon. He even gives the nod to difficult, dissonant experimenters Cecil Taylor, Albert Ayler, Roscoe Mitchell, and Evan Parker, whom many jazz historians barely tolerate. All that, and Armstrong, Ellington, Holiday, Basie, Tatum, "Bird," Monk, Mingus, Miles, and the others everybody expects to be in on this jam, too. Damn good book. Ray Olson
Copyright © American Library Association. All rights reserved

About the Author
Ben Ratliff is the jazz critic at The New York Times. He lives in Manhattan with his wife and two sons.

Customer Reviews

about the author more than the music
Ratliff just can't help inserting himself at every turn in this book. Here's an example: The chapter on "Bill Evans Trio: Saturday at the Village Vanguard" begins: "There's a single-minded, amiable rapture suffusing most of Bill Evans's music that just doesn't do it for me in the long run. It's not my mood; it's not one of the things that satisfies my thrill seeking." Well, gee, thanks for sharing sharing; but save it for your diary. If you enjoy watching an author shoot from the hip (Sarah Vaughan, he says, "in certain low-register moments ... approaches vulgarity" and is lacking in "good taste"), maybe you'll enjoy it. If you simply want to learn more about the peak recordings of jazz history, turn elsewhere.

Not the Best Place to Start
This book is NOT a list of the 100 "best" jazz recordings, but rather what the author considers the 100 "most important." That means he includes albums that he admits even he doesn't like, because they're good for you. [Like spinach]

He also views jazz history through the lens of racism, which seems to influence a number of his choices and explanations.

I would recommend buying the Penguin Guide instead. It's far more comprehensive and the ratings are more reliable. If it seems too intimidating, start with the albums that earn a Rosette--that will still be a better starting place than the list in this book.

Unfair
The reviews here have been too harsh to this book. This book is not meant by any strech to be a replacement for the Penguin Jazz on CD Guide, but as a list and analysis of 100 very good jazz CDs it isn't bad at all. The reviews are generally insightful and informative, and the book contains a fine balance of big band, be-bop, and post-bop, with all the colours in between. (His defense of Cecil Taylor is particularly refreshing.) I might quibble with the title, but no list of 100 CDs will satisfy every reader as including all the "essentials." The main list, combined with the additional 100 CDs listed in the appendix, would provide enough listening enjoyment for a lifetime.