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A "canon" of one of America's most important art forms is herewith presented, complete
with discography, in the first of
Early in the 20th century, a new kind of dance musica syncopated, semi-improvised
hybrid of ragtime, brass-band music, popular song, and the bluesbegan to be heard in
New Orleans and other American cities. It had coalesced into an identifiable style by 1910,
and around that time came to be called jazz, a term whose etymology is as elusive as the
origins of the music itself. In 1917, the Original Dixieland Jazz Band made the first
recordings of jazz; just 21 years later, the jazz clarinetist Benny Goodman and his orchestra
performed at Carnegie Hall, then as now the best-known concert hall in America. By that
time, even those who still believed jazz to be vulgar fare fit only for the masses suspected
that it was here to stay.
Jazz long ago evolved into an art music, studied in colleges and universities and heard as
often in concert halls as in night clubs. One critic has gone so far as to dub it Americas
classical music. Yet at the same time, it remains an essentially popular music, in keeping
with its humble utilitarian origins as an accompaniment to social dancing. (The current
revival of swing dancing has introduced a whole new generation of listeners to the big-band
jazz of the 30s.) Perhaps for this reason, it has become one of this countrys chief cultural
exports, and is now generally ranked alongside the movies as the most important art form to
have originated in the U.S.
Jazz criticism and scholarship, however, have developed more slowly than the music itself,
in part because jazz is usually improvised rather than composed, thus making it harder to
study formally. To date, there have been no more than a dozen or so jazz critics of genuine
stature, while the number of first-rate scholarly biographies can be counted on the fingers
of one hand. The only fully effective means of documenting jazz performance styles is
through recordings, and the fact that such recordings did not begin to be made in significant
numbers until 1923 means there has not yet been sufficient time for a jazz canon to win
more than tentative acceptance.
Not surprisingly, most attempts to draw up jazz canons have been marred by idiosyncrasy
and poor scholarship.1 A case in point is The Smithsonian Collection of Classic Jazz, a 1973
anthology of 84 recordings selected by the late Martin Williams and issued by the
Smithsonian Institution, in which a large number of key figures failed to make the cut, with
others receiving token or otherwise misleading representation. More recently, outright
historical illiteracy has been at least partly to blame for the exclusionary quasi-canon
devised by Stanley Crouch and Albert Murray and promulgated by Wynton Marsalis and
Jazz at Lincoln Center, in which white musicians of the past play no significant part.2
Even though it is far shorter, I have consciously sought to make this list more
diverse than The Smithsonian Collection of Classic Jazz, which gave
disproportionate coverage to certain musicians.4 Eight recordings by Duke
Ellington, for example, were included in the Smithsonian set; I have chosen instead
to represent artists like Ellington and Louis Armstrong by only two performances
each, not counting their appearances as sidemen on other recordings.
A pesar de que es mucho ms corto, he buscado conscientemente
hacer que esta lista sea ms diversa que la Coleccin Smithsoniana
de Jazz Clsico, la cual proporcion una cobertura desproporcionada
a ciertos msicos.4 Ocho grabaciones de Duke Ellington, por
ejemplo, fueron incluidas en el set de Smithsonian ; He elegido
representar a artistas como Ellington y Louis Armstrong por slo
dos actuaciones cada uno, sin contar sus apariciones como sidemen
en otras grabaciones.
As in my classical list, these recordings were not chosen because they were
influential (though many have been, some greatly so) or to strike a balance of
any kind, racial or otherwise. Each one was picked for its musical excellence.
Similarly, none is an all-star catch-all, included so as to cover the largest possible
number of miscellaneous names in one fell swoop. As a result, a number of
performers who ought to have been representedamong them the trumpeter Bunny
Berigan, the trombonist J. J. Johnson, and the pianist-arranger Mary Lou Williams
are instead conspicuous by their absence, very much to my regret.
Except for Louis Armstrong, I have omitted all vocalists (though a number of other
instrumentalists are included who also became known, like Armstrong, for their
singing). I believe that jazz singing is best understood and discussed as a variety
of American popular singing, about which I intend to write at a later date.
I have listed individual works, not full-length albums, which for the most part did
not exist prior to the invention of the LP in 1948. The albums recommended through
1951 are anthologies devoted to individual artists, and in all cases contain other
significant recordings not on the list. Thus, anyone who purchases all 65
recommended performances will in the process acquire a wide-ranging five-foot
shelf of great recorded jazz on CD.
Any list like this one is both provisional and personal. These records are, first and foremost,
65 of my favorites. Some are less familiar than othersI have not felt bound by critical
precedentand a few choices will no doubt seem controversial. Nevertheless, I believe
they are all masterpieces, and that, taken together, they paint an accurate sound picture of
the first half-century of recorded jazz.