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 May 8, 2015 | ECM

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One of the best recordings for Keith Jarrett's mid-'70s American quartet (whose style differed sharply from its European doppelgänger), The Survivors' Suite opens with Jarrett's aching, breathy sigh on the bass recorder, evoking the sound of a horn somewhere across a great expanse of fog. Percussion soon punctuates the melodic line to give the opening a more spiritual, ritualistic feel, which is only the first of many mutations that this album will go through. Divided into two parts, entitled "Beginning" and "Conclusion," this suite effortlessly flows between its movements which range from fiery free jazz to open, meditative atmospheric pieces showing heavy input from indigenous musics to instrumental solos that owe a sylistic debt to the music of the previous decade. Jarrett has strong solos in both the first and second track, but his performances rise to the surface frequently to add warmth to the suite. The greatest contribution that he makes on this album, however, is as a composer, as its complex components seem to nestle together seamlessly again and again, even if the solos occasionally rapidly expand and contract with kinetic energy. As strong a hand as Jarrett has in this album, however, he definitely owes a debt to his supporting players, especially the passionate Dewey Redman and skilled Paul Motian, but Charlie Haden plays an important role in the execution of the suite as well, even if only to provide a skeleton to hang the more fluid elements on. Like other albums of its time, this was beginning to show the brightness, lightness, and soft edges of contemporary jazz, but the solidness of Haden's bass helps keep it rooted and earthbound. ~ Stacia Proefrock
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Contemporary Jazz - Released April 14, 2015 | JMS

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Jazz - Released January 1, 2002 | Impulse!

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One of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. Recorded over two days in December 1964, Trane's classic quartet--Elvin Jones, McCoy Tyner, and Jimmy Garrison-- stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe. Composed of four parts, each has a thematic progression. "Acknowledgement" is the awakening to a spiritual life from the darkness of the world; it trails off with the saxophonist chanting the suite's title. "Resolution" is an amazingly beautiful, somewhat turbulent segment. It portrays the dedication required for discovery on the path toward spiritual understanding. "Pursuance" searches deeply for that experience, while "Psalm" portrays that discovery and the realization of enlightenment with humility. Although sometimes aggressive and dissonant, this isn't Coltrane at his most furious or adventurous. His recordings following this period--studio and live-- become progressively untethered and extremely spirited. A Love Supreme not only attempts but realizes the ambitious undertaking of Coltrane's concept; his emotional, searching, sometimes prayerful journey is made abundantly clear. Clocking in at 33 minutes; A Love Supreme conveys much without overstatement. It is almost impossible to imagine any jazz collection without it. ~ Sam Samuelson and Thom Jurek
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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 January 1, 1961 | Capitol Records, LLC

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Jazz - Released January 1, 1964 | Blue Note Records

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Jazz - Released January 1, 1965 | CM BLUE NOTE (A92)

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Jazz - Released January 1, 1966 | Capitol Records, LLC

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

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Jazz Fusion & Jazz Rock - Released January 1, 1979 | MCA

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Jazz - Released January 1, 1992 | Blue Note Records

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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, 1956 | CM BLUE NOTE (A92)

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Jazz - Released January 1, 1957 | Blue Note Records

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Jazz - Released January 1, 2007 | Prestige

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Pianist Red Garland's very relaxed, marathon blues solo on the 16-minute "Soul Junction" is the most memorable aspect of this CD reissue. With such soloists as tenor saxophonist John Coltrane and trumpeter Donald Byrd, plus steady support provided by bassist George Joyner and drummer Art Taylor, Garland gets to stretch out on the title cut and four jazz originals, including "Birk's Works" and "Hallelujah." Coltrane is in excellent form, playing several stunning sheets of sound solos. ~ Scott Yanow
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Jazz - Released January 1, 1963 | Impulse!

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Jazz - Released January 1, 2014 | Prestige

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Sonny Rollins recorded many memorable sessions during 1954-1958, but Saxophone Colossus is arguably his finest all-around set. Joined by pianist Tommy Flanagan, bassist Doug Watkins, and drummer Max Roach, Rollins debuts and performs the definitive version of "St. Thomas," tears into the chord changes of "Mack the Knife" (here called "Moritat"), introduces "Strode Rode," is lyrical on "You Don't Know What Love Is," and constructs a solo on "Blue Seven" that practically defines his style. Essential music that, as with all of Rollins' Prestige recordings, has also been reissued as part of a huge "complete" box set; listeners with a tight budget are advised to pick up this single disc and be amazed. ~ Scott Yanow
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Jazz - Released January 1, 1962 | Verve

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Jazz - Released January 1, 2014 | Prestige

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Jazz - Released January 1, 2014 | Blue Note Records

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