Is This Jazz? Where to Start

People who lack interest in jazz music typically cite one main reason: They just don’t understand it. There is something about the music that feels distant, they can’t hear the connections they have to it, or they don’t recognize anything that they can latch on to. Phrases like “there are too many notes” or “it sounds like they’re all playing different songs” or “it’s just way too intellectual to comprehend” abound. However, it’s my contention that there is a slice of jazz to fit every person’s preferences, so perhaps a good place to start is to investigate the connections between the music you already love and jazz artists that you have yet to know you’ll enjoy.

I’ll admit that my knowledge base is narrow compared to this music’s daunting history and that the endless recordings related to this art form make it nearly impossible to truly hear it all. Full disclosure, all artists mentioned below are ones that I find personal joy in listening to and have in my own collection, but they do not represent even a fraction of the material available. Talk to any jazz fan and they’ll have a quick list of their top 10 records you HAVE to listen to — we all tend to feel a slight compulsion to be ambassadors to this music — so as long as you keep digging you’ll always be guaranteed an abundance of great music. So, where should you start?

The most obvious answer is to point you toward the masters. Those legendary musicians who continuously redefined not only their own style, but the sound of the music as a whole. For instance, start off your new journey with Miles Davis’ Kind Of Blue. While purchasing this album has become a bit of a cliche at this point, you can’t argue its importance. It is a quintessential album in any context, one that for many has defined what the jazz sound is, at least of the modern era. Furthermore, looking at 1959 alone (the year of its release), you could find a never-ending supply of genre reshaping albums such as John Coltrane’s Giant Steps, Charles Mingus’ Mingus Ah Um, Dave Brubeck’s Time Out, or Ornette Coleman’s The Shape Of Jazz To Come. Since there have been a plethora of articles written about that year, the last I’ll say is that for those seeking guaranteed treasure, there is your mark. But for those looking specifically to attach new jazz to old loves, let’s pair up artists with what is already on your shelf.

Folk music is widely loved in this corner of New England, so for those focused on folk I would point you toward vocalist Becca Stevens’ album Weightless, which draws equally on the sounds of Appalachian folk melodies and modern jazz. Do you like funk? Dig into the Joshua Redman Elastic Band’s album Momentum, which finds Redman ripping sax lines over the tightest band around. If you want your grooves more in the hip-hop realm, then the Robert Glasper Experiment’s Black Radio will provide the Dilla style drums you need. Want blues? Look into the incomparable pianist Oscar Peterson’s “Night Train.” Want to thrash to crushing rhythms? Rudresh Mahanthappa’s Gamak will melt your face. However, if you’re looking to get a bit more outside, grab a copy of Steve Lacy’s The Forest And The Zoo. If, instead, you’re a fan of meditative music, consider Brian Blade & The Fellowship Band’s latest offering, Landmarks. Those looking to go full tilt with the largest ensemble possible while maintaining a vivid spirituality and dipping into a diverse range of what jazz music can offer, need Kamasi Washington’s aptly titled The Epic. One complaint I hear semi-frequently is that people can’t hook into instrumental music; they need a singer. By far my favorite vocalist right now is Cecile McLorin Salvant, especially her recent album For One To Love. If you want a more contemporary accompaniment, then Esperanza Spalding’s last three albums — Chamber Music Society, Radio Music Society and Emily’s D+Evolution — each present a unique facet of her abilities and sound as it has morphed with her artistic progression. There are so many paths one can take, so let us end here for now and in future articles I will be sure to include further suggested listening in an effort to help all who wish to discover the potential and beauty inherent to this music.

As a final note, keep in mind that the majority of my recommendations above are from albums released within the last decade from artists who are either at the height of their careers or have just begun their ascent. The purpose of this was to show that while jazz in 1959 was transformative and essential, it didn’t leave its relevancy back in the ’60s. I want to show that the jazz world of today is still vibrant and evolving in very powerful, meaningful ways. For, in being a follower to this art, I am also intrinsically one of its ambassadors. Check out these albums and be sure to dig deeper as you begin your journey.

Happening Around Town:

The John Allmark Jazz Orchestra; Mondays @ The Met (Pawtucket)

Is This Jazz?; First Friday, bimonthly @ AS220 (Providence) isthisjazz.tumblr.com

Joe Potenza; Fridays @ Tarragon Bar (Providence)

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam;Tuesdays @ Ten Rocks (Pawtucket)

The Jazz Series; Mondays @ Fete (Providence)

Parlour Jazz Jam; Third Sunday each month @ The Parlour (Providence)

Matunuck Beach Hot Jazz Party; Mondays @ The Ocean Mist (Matunuck)

Jazz Revelations; “Baba Yaga” July 23 at Firehouse 13, “Natraj” July 24 at Aurora

To add your listing please email isthisjazzri@gmail.com

Ben Shaw is a local composer, performer, writer, entrepreneur, and podcaster. Dig into his works at ahueofshaw.tumblr.com or find him on Twitter @ahueofshaw.