50 years ago certainly told some sad stories in jazz, including the death of Billie Holiday and Lester Young. But 1959 still appears to be the year that produced some of the most influential albums in jazz history. Here is a list of the best from 1959 (and thanks to Robin Lloyd for the list, and pointing out their similar anniversary).
1. Kind of Blue – Miles Davis
The most legendary album in jazz history easily takes the top spot on this list. The original album still sells 5,000 copies a week. A two-CD “Legacy Edition” version of this album was released celebrating the 50th anniversary, including alternate takes, false starts, and a 17-minute live version of So What.
2. Time Out – Dave Brubeck
The album that left the 4/4 time signature behind, was the first jazz album to have a single (Take Five) that sold one million copies. Sony will release its own 50th Anniversary edition of Time Out this Tuesday, featuring three discs. Disc one will feature a newly remastered edition of the original. Disc two is a 30-minute DVD interview with Dave Brubeck talking about the making of Time Out, with never before seen footage, and Disc three is a compilation of recently discovered tapes at the Newport Jazz Festival from 1961, 1963, and 1964.
3. Giant Steps – John Coltrane
Another great album where every song became a jazz standard. The album features two different trios, with bassist Paul Chambers being the only member to participate in both. Constant chord changes and wonderful improvisation made this a classic.
4. Mingus Ah Um – Charles Mingus
As mentioned earlier, the great Lester Young died in 1959, and Mingus Ah Um is highlighted with a wonderful tribute to Young called Good Bye Pork Pie Hat. Columbia has also released a two disc “Legacy Edition” of this album this year, featuring unedited versions of tunes that were shortened for the original version, as well as some great outtakes.
5. The Shape of Jazz to Come – Ornette Coleman
Released exactly 50 years ago last Friday, The Shape of Jazz to Come basically said “forget about the rules, just let me play”. That might sound sloppy (the description, not the music), but Coleman might have just looked at things differently than those before him. He always heard a melody, and managed to create great jazz with freedom that didn’t sound chaotic.
This post is a post on Groove Notes by Kevin Kniestedt who hosts Grooveyard show on KPLU, as well as host on Jazz24