Qobuz’s experts gather all the essentials of each genre. These albums have marked music history and become major landmarks.

With the Ideal Discography you (re)discover legendary recordings, all whilst building on your musical knowledge.

Albums

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Jazz - Released January 27, 2017 | Contemporary

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Jazz - Released March 10, 2017 | Concord Records, Inc. (UMG Account)

Hi-Res Booklet Distinctions The Qobuz Ideal Discography
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Jazz - Released February 10, 2017 | Columbia - Legacy

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Jazz - Released January 15, 2016 | ECM

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Jazz - Released September 18, 2015 | Columbia - Legacy

Hi-Res Distinctions 4F de Télérama - The Qobuz Ideal Discography - Indispensable JAZZ NEWS
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Jazz - Released January 1, 1961 | Capitol Records, LLC

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Jazz - Released January 1, 1954 | Capitol Records, LLC

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Jazz - Released January 1, 1964 | Blue Note Records

Hi-Res Distinctions The Qobuz Ideal Discography
Pianist and composer Andrew Hill is perhaps known more for this date than any other in his catalog -- and with good reason. Hill's complex compositions straddled many lines in the early to mid-1960s and crossed over many. Point of Departure, with its all-star lineup (even then), took jazz and wrote a new book on it, excluding nothing. With Eric Dolphy and Joe Henderson on saxophones (Dolphy also played clarinet, bass clarinet, and flute), Richard Davis on bass, Tony Williams on drums, and Kenny Dorham on trumpet, this was a cast created for a jazz fire dance. From the opening moments of "Refuge," with its complex minor mode intro that moves headlong via Hill's large, open chords that flat sevenths, ninths, and even 11ths in their striding to move through the mode, into a wellspring of angular hard bop and minor-key blues. Hill's solo is first and it cooks along in the upper middle register, almost all right hand ministrations, creating with his left a virtual counterpoint for Davis and a skittering wash of notes for Williams. The horn solos in are all from the hard bop book, but Dolphy cuts his close to the bone with an edgy tone. "New Monastery," which some mistake for an avant-garde tune, is actually a rewrite of bop minimalism extended by a diminished minor mode and an intervallic sequence that, while clipped, moves very quickly. Dorham solos to connect the dots of the knotty frontline melody and, in his wake, leaves the space open for Dolphy, who blows edgy, blue, and true into the center, as Hill jumps to create a maelstrom by vamping with augmented and suspended chords. Hill chills it out with gorgeous legato phrasing and a left-hand ostinato that cuts through the murk in the harmony. When Henderson takes his break, he just glides into the chromatically elegant space created by Hill, and it's suddenly a new tune. This disc is full of moments like this. In Hill's compositional world, everything is up for grabs. It just has to be taken a piece at a time, and not by leaving your fingerprints all over everything. In "Dedication," where he takes the piano solo further out melodically than on the rest of the album combined, he does so gradually. You cannot remember his starting point, only that there has been a transformation. This is a stellar date, essential for any representative jazz collection, and a record that, in the 21st century, still points the way to the future for jazz. ~ Thom Jurek
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Latin Jazz - Released June 12, 2015 | Columbia - Legacy

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Although Mongo Santamaria's move to Columbia later signified his transition to crossover fare, his label debut, El Bravo!, makes no concessions or overtures to the pop charts. Armed with a batch of original compositions spanning from boleros to mortunos and backed by a crack session band including trumpeter Marty Sheller and flutist Hubert Laws, Santamaria delivers one of the finest traditional Latin jazz records of the mid-'60s. The virtues of the set are many: Santamaria's conga rhythms are fiery yet tasteful, Sheller's luminous arrangements boast an authentic Cuban flavor, and all of the musicians receive ample opportunity to shine, in particular Laws (whose charanga-inspired flute galvanizes the superb "Monica"). ~ Jason Ankeny
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Jazz - Released May 8, 2015 | ECM

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Jazz - Released January 1, 1956 | CM BLUE NOTE (A92)

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Trumpeter Clifford Brown is heard here in two unusual and unrelated sessions. On four selections, Brown is featured with arranger/pianist Tadd Dameron's Orchestra; other soloists include Benny Golson on tenor and altoist Gigi Gryce. The other date was recorded in Sweden while Brown was touring with Lionel Hampton & His Orchestra. Clifford Brown and fellow trumpeter Art Farmer play four Dameron arrangements with a Swedish group that includes altoist Arne Domnerus, baritonist Lars Gullin, and pianist Bengt Hallberg. Oscar Hammerstein II & Sigmund Romberg's "Lover Come Back to Me" really cooks and Brown and Farmer get to trade off in exciting fashion during Quincy Jones' "'Scuse These Blues." ~ Scott Yanow
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Jazz - Released November 28, 2014 | Deutsche Grammophon ECM

Hi-Res Booklet Distinctions 4F de Télérama - Choc de Classica - The Qobuz Ideal Discography - Indispensable JAZZ NEWS
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Jazz - Released January 1, 1963 | Impulse!

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Jazz - Released February 28, 2014 | Columbia - Legacy

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Jazz - Released January 28, 2014 | Bethlehem Records

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Jazz - Released January 1, 2013 | Capitol Records, LLC

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Jazz - Released January 1, 2013 | Blue Note (BLU)

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So dubbed because these three sessions -- two from early 1949, one from March 1950 -- are where the sound known as cool jazz essentially formed, Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there's a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions -- arranged by Gil Evans and featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz, and Max Roach -- is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians. Furthermore, the group keeps things short and concise (probably the result of the running time of singles, but the results are the same), which keeps the focus on the tones and tunes. The virtuosity led to relaxing, stylish mood music as the end result -- the very thing that came to define West Coast or "cool" jazz -- but this music is so inventive, it remains alluring even after its influence has been thoroughly absorbed into the mainstream ~ Stephen Thomas Erlewine
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Jazz - Released January 1, 1985 | Blue Note (BLU)

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Miles Davis' recordings of 1951-1954 tend to be overlooked because of his erratic lifestyle at the time and because they pre-dated his first classic quintet. Although he rarely recorded during this era, what he did document was often quite classic. The two sessions here are among the earliest hard bop recordings and would indirectly influence the modern mainstream music of the '60s. The first session features Davis in a sextet with trombonist J.J. Johnson, altoist Jackie McLean, pianist Gil Coggins, bassist Oscar Pettiford, and drummer Kenny Clarke. Highlights include "Dear Old Stockholm," "Woody 'n You," and interpretations of "Yesterdays" and "How Deep Is the Ocean." The remaining numbers showcase Davis in a quartet with pianist Horace Silver, bassist Percy Heath, and drummer Art Blakey, really stretching out on such numbers as "Take Off" and "Well, You Needn't." "It Never Entered My Mind," Davis' muted statement (his only one on this set), looks toward his treatments of ballads later in the decade. ~ Scott Yanow
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Jazz - Released January 1, 2013 | Capitol Records, LLC

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Jazz - Released January 1, 2013 | Blue Note (BLU)

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