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A Love Supreme
(1964)
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by
John Coltrane
Easily one of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's ...
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Bitches Brew
(1970)
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by
Miles Davis
Thought by many to be the most revolutionary album in jazz history, having virtually created the genre known as jazz-rock fusion (for better or worse) and being the jazz album to most influence rock and funk musicians, Bitches Brew is, by its very nature, mercurial. The original double LP included only six cuts and featured up to 12 musicians at ...
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Mingus Ah Um [Remastered]
(1959)
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by
Charles Mingus
Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate accessibility and brilliantly sculpted individual tunes. Mingus' ...
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Solo Piano
(1989)
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by
Philip Glass
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Traveling Miles
(1999)
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by
Cassandra Wilson
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Freak Out!
(1966)
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by
The Mothers of Invention
One of the most ambitious debuts in rock history, Freak Out! was a seminal concept album that somehow foreshadowed both art rock and punk at the same time. Its four LP sides deconstruct rock conventions right and left, eventually pushing into territory inspired by avant-garde classical composers. Yet the album is sequenced in an accessibly logical ...
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Roundabout
(2006)
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by
Phil Keaggy
Roundabout features various ad hoc recordings made by guitarist Phil Keaggy before concerts and during his soundcheck. Referred to in the album liner notes as "soundcheck loops," these tracks are often free-flowing, atmospheric, and somewhat avant-garde cuts featuring Keaggy playing solo acoustic guitar through various effects pedals, including a ...
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Pithecanthropus Erectus
(1956)
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by
Charles Mingus
Pithecanthropus Erectus was Charles Mingus' breakthrough as a leader, the album where he established himself as a composer of boundless imagination and a fresh new voice that, despite his ambitiously modern concepts, was firmly grounded in jazz tradition. Mingus truly discovered himself after mastering the vocabularies of bop and swing, and with ...
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Kundun
(1997)
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by
Philip Glass
Philip Glass' soundtrack to Martin Scorsese's Dalai Lama epic Kundun captures the grace, beauty, joy and melancholy within the film. Glass uses familiar minimalist structures, but works with traditional Tibetan instrumentation and monks, giving the music an alluringly otherworldly feel. It's an entirely original, evocative score, and one of Glass' ...
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Her Greatest Hits
(1998)
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by
Evelyn Glennie
Her Greatest Hits is a double-disc collection that contains highlights from Evelyn Glennie's recordings for BMG Classics. Not only are her original compositions and interpretations of contemporary classical numbers featured, but so are her versions of pop songs, as well as "Osygen" and "My Spine," her two collaborations with Björk. The result is ...
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Music for 18 Musicians
(1998)
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by
Steve Reich & Ensemble Modern
After Reich's initial experiments with phase music, he moved on to exploring pulse -- music that had no relation to melody, but would repeat phrases of either one or several notes, increasing then decreasing in volume as long as the musician had the stamina. When repeated with several musicians playing around one key and starting them off at ...
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Music Romance, Vol. 2: Taboo & Exile
(1999)
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by
John Zorn
Like the first volume of the series, Music Romance, Volume Two: Taboo and Exile deals with issues of lost innocence. The first of the Music Romance series had more overt references to childhood, with lengthy literary references and a title which gave it all away: Music for Children. Here the images are a little bit more subtle and a lot darker. ...
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Shack-Man
(1996)
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by
Medeski, Martin & Wood
Medeski, Martin & Wood's Shack Man is the best example to date of the trio's cerebral fusion of soul-jazz, hip-hop, and post-punk worldbeat. Relying on a laid-back groove for most the album, the group just rolls along. Shack Man is the kind of album that will appeal most to soul-jazz beginners; for aficionados, the lack of grit in the groove makes ...
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Feels Good to Me
(1978)
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by
Bill Bruford
This is the first solo date by drummer Bill Bruford after the first demise of King Crimson. Feels Good to Me goes far beyond the usual prog rock conceits of its time, and enters fully into the compositional structures and improvisational dynamics of jazz. Here he surrounds himself with various mates from the Canterbury scene -- guitarists Allan ...
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Lumpy Gravy
(1968)
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by
Frank Zappa
Lumpy Gravy, Frank Zappa's first solo album, was released months before the Mothers of Invention's third LP (even though its back cover asked the question: "Is this phase two of We're Only in It for the Money?") and both were conceptualized and recorded at the same time. We're Only in It for the Money became a song-oriented anti-flower power album ...
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Till We Have Faces
(1993)
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by
Gary Thomas
Saxophonist Gary Thomas' records have been nothing if not provocative. This set, a collection of jazz and pop standards radically reharmonized and annotated rhythmically, is no exception. Thomas assembles a stellar cast on this outing, including guitarist Pat Metheny, pianist Tim Murphy, alternating bassists Anthony Cox and Ed Howard, drummer ...
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Meditations
(1965)
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by
John Coltrane
This CD reissues what was arguably the finest of the John Coltrane-Pharoah Sanders collaborations. On five diverse but almost consistently intense movements ("The Father and the Son and the Holy Ghost," "Compassion," "Love," "Consequences," and "Serenity"), the two tenor saxophonists, pianist McCoy Tyner, bassist Jimmy Garrison, and both Elvin ...
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Bright Moments
(1973)
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by
Rahsaan Roland Kirk
Rahsaan Roland Kirk's live club gigs were usually engaging, freewheeling affairs, full of good humor and a fantastically wide range of music. The double album Bright Moments (reissued as a double CD) is a near-definitive document of the Kirk live experience, and his greatest album of the '70s. The extroverted Kirk was in his element in front of an ...
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3-D Lifestyles
(1993)
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by
Greg Osby
Greg Osby is a hugely talented altoist but this attempted mixture of rap and jazz is a disaster. Not only does rap that is filled with meaningless name dropping and profanity plague all but one selection, but Osby's alto sounds like an anemic version of Sadao Watanabe. The monotone delivery of the rappers is extremely annoying to hear as is the ...
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The Hours [Original Soundtrack]
(2002)
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by
Philip Glass
The score for the movie adaptation of Michael Cunningham's The Hours, composed by Philip Glass. The music is somewhat continuous, all built upon the same basic motives. The repetition of a three-note phrase is key to the course of the whole, emerging time and time again as the framework for variations around which the rest of the music is arranged ...
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Unit Structures
(1966)
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by
Cecil Taylor
After several years off records, pianist Cecil Taylor finally had an opportunity to document his music of the mid-'60s on two Blue Note albums (the other one was Conquistador). Taylor's high-energy atonalism fit in well with the free jazz of the period but he was actually leading the way rather than being part of a movement. In fact, this septet ...
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Kronos Quartet Performs Philip Glass
(1995)
by
The Kronos Quartet
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Ambient 2: The Plateaux of Mirror
(1980)
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by
Harold Budd & Brian Eno
The second in Brian Eno's ambient series, The Plateaux of Mirrors fuses the fragile piano melodies of Harold Budd and the atmospheric electronics of Eno to create a lovely, evocative work. In sharp contrast to the exaggerated pieces found on his debut, The Pavilion of Dreams, this record finds Budd delivering sharp shards of piano notes pregnant ...
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Between Tides
(1988)
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by
Roger Eno
A delicate, bittersweet pairing of Eno's bare and deceptively simple melodies with chamber music accompaniment, Eno's second solo album continues in the moods established on Voices, yet also throws in nods to spaghetti Westerns on "Dust at Dawn (The Last Cowboy in the West)" and "Autumn." Neither is Eno afraid to bend a little toward romanticism ...
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Dark Wood
(1993)
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by
David Darling
It's hard to know just what to call this music. Is it classical? Pop? Some extremely pleasant strain of the avant-garde? David Darling is a cellist, and on Dark Wood he plays all the parts, multitracking himself playing in various registers and alternating between bowing and pizzicato techniques. The program consists of four suites, titled ...
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