It’s been a strange year for rock releases. There have been some exceptional albums but I cannot remember a year when the vast majority have been so poor. And a year when even Coldplay couldn’t light my fire. It’s at times like these that I look to modern jazz for inspiration, along with some serious table-thumping and carpet-tapping. And right now I’m surrounded by the contents of one treasure chest of a padded postal packet.

I should first explain that great new modern jazz is even rarer than rock. But the modern jazz genre has history – a fabulous history – with vintage back-catalogue dating back to the 50’s. Much of this invaluable music is now in the ownership of one of the great jazz labels, Blue Note, and each year re-mastered re-issues are released both individually and in series. Sonically, you won’t find better recordings, each of which can be slotted comfortably under the ‘audiophile’ category. But the really great news is that these sonic and musical masterpieces can be had for as little as £6.99 in the shops and online. I opened my listening session with what turned out to be one of my favourites in this treasure chest. Thad Jones & Mel Lewis LIVE AT THE VILLAGE VANGUARD was originally recorded back in 1967. The orchestra only started about a year before this live performance but listening to it you wouldn’t know. It’s a buzzing, vibrant, swinging, cohesive contemporary jazz album with Thad Jones on cornet, a multitude of trumpeters, Mel Lewis cathartic on drums, Roland Hanna superb on piano, and sax work from some of the period’s true greats. The mood occasionally swings from humorous to sad, extrovert to introvert (sometimes within a single song) but is dominated by foot-stomping jazz joy. This is a must-have album for those into large ensemble work with a very modern edge, and includes three bonus tracks.

June Christy may not have enjoyed the level of profile bestowed on others, and indeed this is the first time I’ve heard her. BALLADS FOR NIGHT PEOPLE is a gorgeous album. The lady’s gentle, contemplative renditions of songs like Bewitched, Bothered, And Bewildered, Night People, I Had A Little Sorrow, and Shadow Woman are truly magnificent. The instrumental backdrop is restrained and provides the perfect ambience to the recordings and Christy’s fluid tones. Check out the plucked bass on Kissing Bug and the perfect piano and horn accompaniment on the upbeat Don’t Get Around Much Anymore - it’s all pretty well perfect. In addition to the original 1959 album are five songs from DO-RE-MI recorded two years later. A lovely album.

Next up in this series is Johnny Smith with the classic WALK, DON’T RUN. The album features Smith on guitar, Perry Lopez on rhythm guitar, Arnold Fishkin on bass and Don Lamond on drums. As the album name implies this is a laid back, relaxed instrumental outing. The session was recorded back in 1954, while the Smith penned title track became an international pop hit six years later for The Ventures. Stan Kenton’s Latin hit album VIVA KENTON was recorded in New York back in 1959 with a four-man percussion ensemble added to Kenton’s orchestra. The end result of this Gene Roland penned album is extraordinary. Driving rhythms, great melodies, superb instrumentals, diverse pace, and quite astonishing sound quality make this an album for all jazz lovers. The four-man percussion team add drama and sparkle as their notes ring out. Added to this album are no less than six tracks from the 1961 album ARTISTRY IN BOSSA NOVA. If you weren’t a fan of big band jazz, this could well change your mind.

No classic jazz series would be complete without an album from the Cannonball Adderley Sextet. But this one’s just a bit special. CANNONBALL IN EUROPE is a stunning live performance album originally recorded in 1962 at the International Jazz Festival in Comblain-La-Tour, Belgium. The sound quality of this recording blew me away, especially considering that live performances are notoriously difficult to record. Re-mastered using Sony’s 24-bit Super Bit Mapping by one of the best in the business Ron McMaster, the record is one of the most exciting I’ve ever heard and includes a brief spoken intro from Cannonball, with numerous spells of audience acclaim to add atmosphere – in fact you really feel as though you’re at the show. The songs are melodic and diverse in both pace and mood, and include P. Bouk, the gorgeously lyrical Gemini, Word Song, the classic Trouble In Mind and Dizzy’s Business. Rush out and buy this record, and be amazed, very amazed… The last album in this re-issued Capitol Jazz series is from The Jazz Crusaders. THE FESTIVAL ALBUM was recorded at The Pacific Jazz Festival in CA in 1966, The Newport Jazz Festival in 1966. Two additional previously unreleased tracks have been added to the original menu (Wilton’s Boogaloo and Half And Half recorded at Shelley’s Manne-Hole, LA in 1968). What’s so interesting about this series is the diversity of the music and this particular one offers a largely more downbeat, moody, improvised jazz feast, with extremely expressive instrumental performances from all the players. This very successful group comprises Joe Sample on piano, Wayne Henderson on trombone, Jimmy Bond and Herbie Lewis on bass, and Stix Hooper on drums (incredible on Young Rabbits).

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The Best Of The Best!

If you are looking for an inexpensive way to dip your toes in jazzy waters, or simply want to have your favourites distilled into nice bite-sized chunks, then this series from Blue Note is definitely for you. The series comprises ten albums from the best of the best in modern jazz, and each album features each artist’s (arguably) greatest songs. What could be simpler or more effective? First up is Lee Morgan with The Sidewinder, Since I fell For You, Speedball, Ceora, The Rumproller and I Remember Clifford. The fabulous Jimmy Smith album includes The Champ, All Day Long, When Johnny Comes Marching Home, See See Rider, The Jumpin’ Blues, Back At The Chicken Shack, and Fungii Mama. Thelonious Monk plays Thelonious, Ruby My Dear, Well You Needn’t, In Walked Bud, ‘Round Midnight, Evidence, Misterioso, Epistrophy, I Mean You, Criss Cross, Ask Me Now, Straight No Chaser, and Let’s Cool One.

Miles Davis plays songs from his early years including Move, Boplicity, Deception, Chance It, How Deep Is The Ocean, Dear Old Stockholm, Tempus Fugit, C.T.A., It Never Entered My Mind, Weirdo, and Somethin’ Else. Sonny Rollins plays Decision, Poor Butterfly, Why Don’t I, How Are Things In Glocca Morra? Asiatic Raes, Tune Up, and Sonnymoon For Two. Chet Baker plays My Funny Valentine, Happy Little Sunbeam, The Thrill Is Gone, Bockhanal, This Is Always, Time After Time, Taboo, Let’s Get Lost, Love Nest, But Not For me, and Picture Of Heath.

Horace Silver plays Doodlin’, The Preacher, Senor Blues, Soulville, Sister Sadie, Song For My Father, The Cape Verdean Blues, and The Jody Grind. Another personal favourite of mine is Bud Powell. He plays Bouncing With Bud, Dance Of The Infidels, Un Poco Loco, Parisian Thoroughfare, A Night In Tunisia, Glass Enclosure, Collard Greens And Black-Eyed Peas, Autumn In New York, John’s Abbey, Cleopatra’s Dream, and The Scene Changes. George Shearing plays Midnight In The Air, Have You Met Miss Jones, Cuban Love Song, The Folks Who Live On The Hill, Pawn Ticket, Cheek To Cheek, Kinda Cute, September In The Rain, Estampa Cubana, A Ship Without A Sail, Bernie’s Tune, Laura, Lullaby Of Birdland, One Note Samba, and Promises, Promises.

The final disc is by Lou Rawls who sings Southside Blues/Tobacco Road, Your Good Thing (Is About To End), You Can’t Go Home No More, At Last, Room With A View, Don’t Let Me Be Misunderstood, All Around The World, This Bitter Earth, Good Morning Blues, A Lover’s Question, I Just Want To Make Love To You, and Sweet Slumber. And if you’ve seen a better set of modern jazz compilations I’d really like to know. Essential.