| Art Blakey & The Jazz Messengers: Moanin' (1958) |
Jazz's most explosive drummer debuted his third version of the Jazz Messengers with this instant hard-bop classic. It's way too funky in here, thanks to compositions and performances by Benny Golson, Lee Morgan, and Bobby Timmons (who contributed the famous title track).
| Dave Brubeck: Time Out (1959) |
What was conceived by pianist Brubeck as an adventure into unusual time signatures ended up one of the most successful records in jazz history, due in large part to its beautiful melodies and the mesmerizing alto work of Paul Desmond.
| Ornette Coleman: The Shape of Jazz to Come (1959) |
After four decades, this disc remains true to its title. Saxophonist Ornette Coleman solidified his group in 1959 to the working quartet recorded here. They broke convention and provided a major stepping stone on the road to free jazz.
| John Coltrane: Love Supreme (1964) |
One of Coltrane's most spiritually moving recordings, this disc has been popular among devotees and neophytes alike. It's a heart-felt celebration of divine love, with equal measures of devotion and exploration.
| Miles Davis: Kind of Blue (1959) |
The best-selling jazz recording of the era (and a perfect introduction for the jazz newbie), Kind of Blue helped introduce a new sound for jazz. Working from relatively simple structures, the musicians here lay out wonderfully lyrical extended improvisations.
| Eric Dolphy: Out to Lunch (1964) |
Eric Dolphy was always a big fan of bird calls, and much of his playing here reflects that natural sonority. This disc transports a relatively straight-ahead group into adventurous, inventive territorywith dramatically successful results.
| Bill Evans: Waltz for Debby & Live at the Village Vanguard (1961) |
The laid-back character of Bill Evans's piano playing here masks a serenely beautiful touch and wonderfully innovative ideas. His inhumanly intuitive interactions with bassist Scott LaFaro remain legendary. This is the best piano trio music ever recorded (and it's all live).
| Herbie Hancock: Maiden Voyage (1965) |
Pianist Herbie Hancock's best record adopts a nautical angle, with gentle waves of sound surrounding strong, forward-sailing melodies. Maiden Voyage relies upon subtlety, but it features wonderful group interaction and showcases some of Hancock's finest playing.
| Thelonious Monk: Brilliant Corners (1956) |
Quirky yet rigorously logical, Brilliant Corners is a triumph of composition and performance, a set heavy on Monk originals with Rollins, Roach and Pettiford along for the swing. Even its title describes Monk's angular genius.
| Oliver Nelson: Blues & The Abstract Truth (1961) |
Some of Nelson's best workas a composer, arranger, AND saxophonistfeatures his large ensemble soulfully tight-roping arrangement and improvisation. A genuine masterpiece that has inspired musicians and arrangers for decades.
| Sonny Rollins: Saxophone Colossus (1956) |
Not just one of Rollins' great momentsone of the great "monster" jazz sessions of all time, and, in "St. Thomas," one the first crossroads between Jazz and the Caribbean.
| Horace Silver: Song for My Father (1963) |
One of the first hard bop albums and also one of the greatest, and not just from that title track (honored in "Rikki Don't Lose That Number") but also his classic "Lonely Woman."
| Jimmy Smith: The Sermon (1958) |
A foreshadowing of Smith's awesome Chicken Shack and Midnight Special, and defining moment of organ jazz. Smith, Lee Morgan and Curtis Fuller testify on the side-long title track.
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