This is a special article for me, because Miles Davis essentially got me started on jazz. It was listening to albums like Kind of Blue and Herbie Hancock’s Headhunters that got me interested in what this genre of music had to offer, and my love of jazz only grew from there. For a while, I tried to get as much Miles and Herbie as I could, buying CDs on a whim. On one of these whims I found what was also considered one of Miles’s best releases, a little album called Sketches of Spain. And I can say without a doubt my life has been changed by this album in ways I could never quite expect.
Welcome to another edition of Jazz Club, where we touch upon several classic records and a handful of newer albums that are handily carrying the torch. This week, we wanted to explore the idea of a “classic” jazz record, specifically regarding this question: were some jazz standards always thought of as highly as they are today? The answer is a pretty resounding no; as with any genre, many of the records now considered essential were once earth-shattering, jimmy-rustling affairs that either puzzled or repulsed music critics and fans. Today, we’re going to take a look back at three of the most controversial records in the genre, all of which redefined the genre in some way and received quite a bit of flack for it, before eventually leaving a lasting imprint on the shape of jazz to come (*hint* *hint*).
Welcome to Jazz Club, our sort-of-but-not-really regular column that expounds one of the greatest – and perhaps most alienating – genres ever. Today we’re going to go back to square one, and talk about some key albums to spin if you’re interested in possibly listening to jazz. Obviously, these are our opinions; if you don’t agree, feel free to send us hate in the comments.