MP3 | VBR H.Q. 320 Kbps | 154 Mb
Genre: Jazz, Blues | 2009
There have long been debates in the jazz community over the definition and the boundaries of “jazz”. Although alteration or transformation of jazz by new influences has often been initially criticized as a “debasement,” Andrew Gilbert argues that jazz has the “ability to absorb and transform influences” from diverse musical styles. While some enthusiasts of certain types of jazz have argued for narrower definitions which exclude many other types of music also commonly known as "jazz", jazz musicians themselves are often reluctant to define the music they play. Duke Ellington summed it up by saying, "It's all music." Some critics have even stated that Ellington's music was not jazz because it was arranged and orchestrated. On the other hand Ellington's friend Earl Hines's twenty solo "transformative versions" of Ellington compositions (on Earl Hines Plays Duke Ellington recorded in the 1970s) were described by Ben Ratliff, the New York Times jazz critic, as "as good an example of the jazz process as anything out there."
Commercially-oriented or popular music-influenced forms of jazz have both long been criticized, at least since the emergence of Bop. Traditional jazz enthusiasts have dismissed Bop, the 1970s jazz fusion era [and much else] as a period of commercial debasement of the music. According to Bruce Johnson, jazz music has always had a "tension between jazz as a commercial music and an art form". Gilbert notes that as the notion of a canon of jazz is developing, the “achievements of the past” may become "…privileged over the idiosyncratic creativity...” and innovation of current artists. Village Voice jazz critic Gary Giddins argues that as the creation and dissemination of jazz is becoming increasingly institutionalized and dominated by major entertainment firms, jazz is facing a "...perilous future of respectability and disinterested acceptance." David Ake warns that the creation of “norms” in jazz and the establishment of a “jazz tradition” may exclude or sideline other newer, avant-garde forms of jazz. Controversy has also arisen over new forms of contemporary jazz created outside the United States and departing significantly from American styles. On one view they represent a vital part of jazz's current development; on another they are sometimes criticised as a rejection of vital jazz traditions.
1- Dee Dee Bridgewater - Mon Homme
2- Etta James - Don't Get Around Much Anymore
3- Patti Austin - Too Close for Comfort
4- Susannah McCorkle - The Ballad Of Pearly Sue
5- Rebecca Kilgore - Moments Like This
6- Carmen McRae - If I Had You
7- Etta James - One For My Baby
8- Nat King Cole - Straighten Up & Fly Right
9- George Shearing with Nancy Wil - My Gentleman Friend
10- Ella Fitzgerald - Night And Day
11- Frank Sinatra & Count Basie - Fly Me To The Moon
12- Mose Allison - Blueberry Hill
13- Nikki Yanofsky - You've Changed
14- Renee Olstead - My Baby Just Cares For Me
15- Sophie Milman - My Heart Belongs to Daddy
16- Amel Larrieux - Younger Than Springtime
17- Betty Carter - The Love We Had Westerday
18- Billie Holiday - Me, Myself And I
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