10000 VARIOUS ARTISTS
(Post-70s) Eclectic Fusion / Vocal Jazz / Third Stream / Swing / Post Bop / Pop Jazz/Crossover / Original New Orleans Jazz / Jazz Related Rock / Jazz Related RnB / DJ/Electronica Jazz / Avant-Garde Jazz • Multi-National

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10000 VARIOUS ARTISTS Discography

10000 VARIOUS ARTISTS albums / top albums

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Bird Up: The Charlie Parker Remix Project
DJ/Electronica Jazz 2003
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Blue Note Plays Stevie Wonder
Jazz Related RnB 2004
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New Orleans Brass Bands: Through the Streets of the City
Original New Orleans Jazz 2015
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Message To Attila - The Music Of Attila Zoller
Post Bop 2015
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REVIVE Music Presents: Supreme Sonacy (Vol. 1)
(Post-70s) Eclectic Fusion 2015
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Jazz Loves Disney
Vocal Jazz 2016
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Celebrate Ornette
(Post-70s) Eclectic Fusion 2016
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Monteverdi In The Spirit Of Jazz
Third Stream 2017
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The Passion Of Charlie Parker
Vocal Jazz 2017
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Hendrix in the Spirit of Jazz
Jazz Related Rock 2017
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Sky Music: A Tribute To Terje Rypdal
(Post-70s) Eclectic Fusion 2017
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Jazz Loves Disney 2 - A Kind Of Magic
Pop Jazz/Crossover 2017

10000 VARIOUS ARTISTS EPs & splits

10000 VARIOUS ARTISTS live albums

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The New Wave In Jazz
Avant-Garde Jazz 1966
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The Savory Collection, Vol. 3 - Honeysuckle Rose: Fats Waller & Friends
Swing 2017

10000 VARIOUS ARTISTS demos, promos, fans club and other releases (no bootlegs)

10000 VARIOUS ARTISTS re-issues & compilations

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Assorted Flavors Of Pacific Jazz - A Hi-Fi Sampler
Cool Jazz 1956
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My Pussy Belongs to Daddy
Pop Jazz/Crossover 1957
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Jazz West Coast Volume N° 4
Cool Jazz 1958
.. Album Cover 4.00 | 1 ratings
Blue Note's Three Decades Of Jazz - Volume 1 - 1959 - 1969 (aka A Decade Of Jazz Volume Three (1959-1969))
Hard Bop 1969
.. Album Cover 5.00 | 1 ratings
The Smithsonian Collection Of Classic Jazz
Swing 1973
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Various ‎– The Progressives
Classic Fusion 1973
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Polish Jazz 1946-1956: Post-War Dance Bands Vol.1
Big Band 1975
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Polish Jazz 1946-1956 Vol 3
Swing 1976
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This Is Acid Jazz Volume Three
Acid Jazz 1993
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Killer Funk
Funk 1999
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Blue Note: The Ultimate Jazz Collection
Hard Bop 2006
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Duo Art: Creating Magic
Post-Fusion Contemporary 2014
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VA - Le Meilleur de Blue Note
Hard Bop 2014
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V.A. - Salsa de la Bahia Vol. 2, Hoy Y Ayer
Latin Jazz 2014
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Its Christmas on Mack Avenue
Pop Jazz/Crossover 2014
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Fusion Jazz in America
Classic Fusion 2014
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The Magic & the Mystery of the Piano Trio: Ballads & Lullabies
Post-Fusion Contemporary 2014
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Introducing M-Base
(Post-70s) Eclectic Fusion 2015
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The Complete Bee Hive Sessions
Hard Bop 2015
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Jazz Haunts & Magic Vaults: The New Lost Classics of Resonance Records, Volume 1
Hard Bop 2016
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ECM Trumpets
Post Bop 2016
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Spiritual Jazz 7 : Islam
Avant-Garde Jazz 2017

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Celebrate Ornette
(Post-70s) Eclectic Fusion 2016

10000 VARIOUS ARTISTS Reviews

10000 VARIOUS ARTISTS Blue Note's Three Decades Of Jazz - Volume 1 - 1959 - 1969 (aka A Decade Of Jazz Volume Three (1959-1969))

Boxset / Compilation · 1969 · Hard Bop
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js
(This review is dedicated to Bobby Hutcherson, whose brilliant vibraphone playing on this record helps propel Eric Dolphy’s “Out to Lunch”) If you like to frequent places where used vinyl is sold, then you are likely to run into these Blue Note collections that came out in the late 60s and re-issued in the mid-70s. If you see the collection featured in this review, this one that features tracks from 1959 to 1969, then you will want to pick this one up because it is a treasure trove of classic 60s jazz cuts. First you get a heaping helping of funky hard bop soul jazz, including masterpieces of the genre such as Lee Morgan’s “Sidewinder”, Horace Silver’s “Song for my Father”, Jimmy Smith’s “Back at the Chicken Shack” and Kenny Burrell’s “Chitlins Con Carne”. As if that wasn’t enough, Blue Note tops off all that soul with the always interesting outside work of Eric Dolphy’s “Out to Lunch” and Ornette Coleman’s “European Echoes”, plus the exotic sounds of Donald Byrd’s “Christo Redenter”. Almost every cut on here is a genre defining pillar that continues to be important and enjoyable to this day. Possibly the only track that might not belong is Ike Quebec’s almost maudlin “Blue and Sentimental”, but it too is saved by Grant Green’s jaggedy guitar work.

I would imagine there were some at Blue Note who might have wanted to separate the more experimental fare from the other tracks, but fortunately they didn’t do that. Instead, everything is lumped together which gives the album a much more interesting flow as abstract pieces segue way into blues and back again. If you have been into jazz for very long at all, then you probably already recognize at least three or four of these tracks. Since re-issues of this album can be found at a low price, pick it up, this is an excellent overview of 60s jazz, albeit with an accent on soul jazz/hard bop, but with enough other stuff thrown in to keep things interesting and lively.

10000 VARIOUS ARTISTS The Smithsonian Collection Of Classic Jazz

Boxset / Compilation · 1973 · Swing
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js
This review is written using the original Smithsonian Collection of Jazz issued on 6 LPs that came in a box with an excellent 46 page booklet. If you are looking for a good way to get an overview of jazz history from New Orleans up to the early 60s, you couldn’t do much better than this one. Almost all of the important players are here and arranged in very logical chronological order, or sometimes grouped by genre and/or instrument. Much effort was made in assembling this package to present jazz as it grew and changed over the years. There are a few omissions and those will be covered later in this review.

This collection starts where it should, in New Orleans in the early 20s, and finally ends with John Coltrane’s “Alabama”. In between you get several cuts by major innovators like Ellington, Parker and Armstrong, and at least one cut from anyone else who was important. A top highlight of this collection comes early on when Scott Joplin’s version of “Maple Leaf Rag” is followed by Jelly Roll Morton’s, and it becomes clear what this new “jass” was all about. From the beginning jazz was a nuanced musical language whereby “hipsters” could transform pop tunes and make them personal creations in a way that was difficult to imitate and in a manner that left “squares” clueless. It’s this attempt to always stay one step ahead of the imitators that has fueled most of jazz’s innovations. Another similar juxtaposition comes when the collection follow’s Benny Goodman’s version of “Body and Soul” with Coleman Hawkin’s version. No doubt Goodman was a major talent, but no one could transform a melody like Hawkins.

Another highlight in the chronology occurs when Ellington makes his first appearance. The Basie cuts preceding Ellington are great energetic rockin swingin numbers, but when the first couple bars of Ellington’s “East St Louis Toodle-Oo” come slinking into the picture, its obvious we have entered a whole new universe. Actually the first couple bars of that tune almost sound like a ‘Knitting Factory’ band in NYC’s 21st Century, but when the tune proper kicks in, there is no doubt that this is Ellington in the late 20s, a couple centuries ahead of his time, and still so today. This whole new universe effect happens again when Parker and Gillespie show up, and once more when Cecil Taylor unveils “Enter Evening”.

This is an excellent collection, but there are some omissions. The most glaring is that nothing is included from Coltrane’s hard bop years, particularly the groundbreaking album “Giant Steps” and even more particularly, the hugely influential title track. Possibly still the most influential tune in modern jazz, the fast moving and difficult chord changes to “Giant Steps” continue to be a holy grail for young saxophone players who want to prove their skills. It was probably hard to include every major player, but if I had to pick the one most missed it would be Eric Dolphy, one of the few musicians who seemed capable of expanding on what Parker had established. Although there is an attempt to show the roots of jazz with one ragtime tune and a couple early blues numbers, it would have been nice to hear even earlier music that demonstrates the relationship between traditional African music and pre-jazz brass bands. Recordings of rural Louisiana brass bands, as late as the 1950s, playing in a very African style that preceded jazz, do exist.

There is a CD re-issue of this collection that corrects a few other omissions, particularly the Bill Evans Trio and Wes Montgomery. The CD collection also quite slyly jumps a decade and a half at the very end to feature one cut from 1979 by The World Saxophone Quartet. The implication being that the fusion/smooth jazz years were merely a diversion, the real innovations in jazz will be coming from guys like Julius Hemphill, Oliver Lake, Hamie Bluiett and David Murray.

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