What is Miles Davis best album

Jazz is different!

Editor's recommendation

We claimed that, obviously based on The Doctors on the cover of Musikexpress 07/2018. This issue was our jazz special: We dedicated our cover story to the great Kamasi Washington because of his new album HEAVEN AND EARTH, you can now read the interview and the whole story online. In addition, we have listed what we believe to be the 50 best jazz records of all times (so far), which you can find here and now online. Who have we forgotten, who should we have forgotten? Tell us on Facebook!

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50th place. The Thing - Bag It!

Smalltown super jazz
2009

For eleven albums, the three Swedes were considered a live phenomenon who would probably never be able to use the incredible power of their energy jazz in the studio. BAG IT! changes everything. The man behind this mystery: Steve Albini. Hiring him as a producer was a compelling idea, especially because the man from Chicago can mix a drum kit like no other in such a way that it rumbles intimately. Saxophone and bass can rely on the power of the drums and enter into dialogue with the drums. Or better: the instruments are screaming at each other, so furiously that these musicians can't help but scream every now and then. But there are also gaps in the noise: The title track develops as a new building-like industrial experiment before it gets mad and comes to rest again at the end. André Boße

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49th place. The Pyramids - Lalibela

Pyramid Music
1973

Editor's recommendation

In the film SPACE IS THE PLACE, the afrofuturist Sun Ra lands with his spaceship in Oakland (California), his mission is the liberation of African Americans using the cosmic energy of music. The Pyramids opened their jazz camp there in Oakland in the 1970s and singer Idris Ackamoor today recalls this connection in a track on his brand new album: “a band of children from the land of Ra who travel space from star to star”. LALIBELA is the 1973 debut of the sextet, a marvel of cosmic jazz in two full-length tracks. For a moment it sounds like premodern folk, then the flutes and saxophones begin to meander in wild tracks, ritual chants slide over the conga beats. In the end, their souls should have left their bodies. Frank Sawatzki 🛒 Buy now from Amazon.de

48th place. The Peter Brötzmann Octet - Machine Gun

FMP
1968

No, it wasn't the European variant of free jazz that the saxophonist Peter Brötzmann invented on his second album MACHINE GUN. But it was the first major free jazz album from Europe. Brötzmann and his octet with Evan Parker, Han Bennink, Fred Van Hove and Sven-Åke Johansson, among others, radically brought the free collective improvisation that Ornette Coleman developed on the album FREE JAZZ and which was later continued by John Coltrane to ASCENSION to an end. Ultra-fast and aggressive high-energy music, which often reminded of the noises of the MACHINE GUN from which it was named, led by Brötzmann's roaring playing on the tenor and baritone saxophone. If there is the equivalent of heavy metal in jazz, it is this album.Albert Koch

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47th place.The Bad Plus - Prog

Do The Math
2007

It's such a thing when jazz virtuosos throw themselves on well-known pop and rock models, it is not uncommon for arts and crafts that turn into warm champagne at weddings and inaugurations in pedestrian zones, but degenerate into a mere gesture on record. The Bad Plus do it much better, the US trio doesn't choose the tracks because of the aha experiences, but examines in advance what can be got out of the original. PROG not only offers progressive rock (but also, namely “Tom Sawyer” by Rush), but also its own compositions, but above all variations on pop songs such as “Everybody Wants To Rule The World” by Tears For Fears or Bowie's “Life On Mars? “- and The Bad Plus always add several levels and tension arcs to the templates based on the main themes. André Boße

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46th place Charlie Parker - Jazz At Massey Hall

Debut
1953

The live recording is also under the band name The Quintet, alongside Parker on saxophone Charles Mingus on bass and Dizzy Gillespie on trumpet, Bud Powell on piano and Max Roach on drums - it doesn't get any better. Mingus was responsible for the recording, he is said to have improved a few bass tracks afterwards. The drunken pianist is also told that Gillespie was more interested in the boxing match on TV than in the concert and later complained that he only got his fee years later. Beautiful jazz legends, but what you hear is more important: An impressive jazz demonstration by the best musicians of the time, who continue to turn bebop with great virtuosity towards hard bop and modern jazz. André Boße

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45th place Collocutor - The Search

On The Corner Records
2017

Storytelling in jazz. The second album by the British band around saxophonist and flutist Tamar Osborn could also be the soundtrack for a road movie that tells of a person's disappearance and ends when they appear (“Arrival Live Dubplate Mix”). Collocutor drive their music photo series in a dreamlike flow, switch to stop-and-go mode, take a look at Sun Ra's jazz lands, leave the course and return with turbo percussion. “Killer” was the verdict of DJ and Talkin‘ Loud founder Gilles Peterson. Where the journey of the darlings of the young London jazz scene can still lead, demonstrates their latest maxi: Miles Davis ‘“ Black Satin ”they tore open on the sides and pulled them into a deep hole with bass and electric guitar. Frank Sawatzki

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44th place. Thelonious Monk - Straight, No Chaser

Columbia
1967

Not the soundtrack to the film portrait, but the sixth album by the pianist - and one that, unlike many Monk recordings, can also be heard on the side. Monk and his three fellow musicians on saxophone, bass and drums do not stray too far from the models by Duke Ellington or Harold Arlen, the interpretations of his own songs also sound tamed, which does not reduce the listening pleasure, on the contrary: There are more than five people too Guest, STRAIGHT, NO CHASER is actually always the best Monk choice: You can always agree on this record. André Boße

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43rd place.Badbadnotgood - IV

Innovative Leisure / Rough Trade
2016

Unbuttoned vintage surfer shirts, faded jeans, funny caps on and a lot of nonsense on their minds: The boys from Badbadnotgood look like real hangers. They could easily pass as the best buddies of Mac DeMarco, Twin Peaks or Hinds, but God, they love to play! The great thing: You don't have to check their ambitious weirdo jazz. Genre-savvy people should recognize all kinds of references in this music, but jazz strangers will have no less fun when the saxophone or trumpet replace the vocals and hit the hook, but never sound bulky when rhythms change every second, when sound motifs move up and down spherically established genre expectations cannot be fulfilled. IV is indie rock and jazz, drinking contests and a five-course meal at the same time. It was only with this, their fourth album, that the Toronto band got a lot of international attention. Maybe because before that she was so busy producing tracks for Kendrick Lamar or Kaytranada that her own songs had to be put on the back burner. Incidentally, in the boys' recording studio, which bears the sexy name Studio 69, they recently wrote the instrumental for quite a hit: "After The Storm" by Kali Uchis, Tyler, The Creator and Bootsy Collins. Jördis Hagemeier

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42nd place. The Lounge Lizards - The Lounge Lizards

Editions EG
1981

Free jazz from New York and from the early 80s, there is also the nervousness and irony of post-punk. The Lounge Lizards play with the style of the great jazz traditionalists, the cover is by Peter Saville, the man who gave the Joy Division records the corporate look. The Lounge Lizards developed their desire for noise in various noise bands from the No Wave era. On their first LP they interpret two Monk tracks, plus the standard “Harlem Nocturne”, which takes the meta-jazz of Lounge Lizards into the rock world - which is also due to the compact drumming of drummer Anton Fier, who was previously with the Feelies and Pere Ubu played. André Boße

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41st place. Duke Ellington - Piano In The Background

Columbia
1960

The title is already interesting, because when Duke Ellington plays the piano, then of course not just in the background. His piano sounds decisive here too, but there are always moments when the wind instruments in his orchestra develop tremendous power or, in “What Am I Here For?”, The trumpet almost takes on the role of lead vocals. Either way: PIANO IN THE BACKGROUND is an excellent example of Duke Ellington's unique art of arranging. André Boße

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