Advanced Jazz CD Collecting: A Quick “How To”

The basis for my jazz music collection has always been the Penguin Jazz Recordings Guide’s “Core Collection”. Remember that I started out in jazz without owning a single jazz album, except for three culled from a Wall Street Journal article about “must have” jazz recordings and some average stuff borrowed and burned from the library (I don’t do that anymore, so don’t call the FBI.) . So using the core collection of the Penguin Guide eighth edition, I began buying jazz CD’s.

As is to be expected with a list like the core collection, probably more than half the CD’s are common, relatively inexpensive, and easily found on amazon or ebay. But as you pick what I call the low hanging fruit, you are left with high hanging fruit that gets increasingly harder to find and more and more expensive. Some of the recordings are downright rare, and as I’ve written before, some can’t be had for love or money. They just aren’t out there. Be that as it may, I am dangerously close to completing the core collection with only one or two substitutes, but no integral gaps from the 188 selections.

Notice there that I say “selections” because some are multi-disc sets and some recordings are now available either as parts of boxed sets or other compilations. That complicates matters. So here’s the “how to” for completing the core collection:

1)  Get the easy ones first. Lots of artists can be had for just a couple of bucks: Bill Evans, Miles Davis, Duke Ellington, Count Basie, etc. Most every selection on amazon will have a “People who bought this also bought…” underneath with a bunch more of the selections you will need to complete the collection. Pick up what you need.
2)  Buy used. Used CD’s are almost always half the price of new, or less. There are some CD’s I literally picked up for the cost of shipping. 
 3)  Keep track of what you have and what you don’t. You will quickly form a mental database that will help guide your search and will alert you when you come across something rare or hard to find.
4)  If you see one of the rare ones, buy it. You have to convince yourself that money is not an issue here, because there are some that I have seen and failed to purchase because I thought it too expensive, and then I never saw the thing again. It’s frustrating. More frustrating than breaking the budget.
5)   Search ebay and amazon everyday. The foreign amazon sites are also worthwhile. I found some on amazon Japan that I couldn’t find anywhere else. Use the wishlist (amazon) and watchlist (ebay) to keep your eye on prices and availability.
6)  Spend the time and money.
7)  Listen and enjoy your collection. You deserve it.

Depending on the availability of one or two CD’s and whether I opt to substitute or not, I should finish my core collection by the end of March. I plan to take a picture of me sitting in the middle of all those CD’s. It’s going to be exciting.

That’s that

So, on my way to the concert Friday night, I’m stopped at a yield sign waiting for traffic to let up enough for me to merge. The guy behind me decides it’s let up enough to go ahead and merge. Unfortunately, he completely forgot there was a car in front of him. Mine.

I suppose there are worse things than a traffic accident to take one’s mind off of things and help one lose some of one’s nervousness and settle down before performing in a concert. I calmly got out of the car and honestly, at first I couldn’t see any damage. We looked underneath and around, and all I could see were some vague scrapes where the dirt had some off my car. Me and the perp didn’t even bother to exchange info, as I simply couldn’t see anything wrong and wanted to go back to thinking about the concert.

The concert was standing room only. Literally. The audience was siting on the staircases at the top. I had about ten or twelve supporters of my own there, only one from where I work, the rest colleagues and former colleagues of Mrs. S. Our band played first and we led off with Splanky. I had the first solo and it was really the only time anyone was going to hear me. The rhythm section and I nailed the behind-the-beat opening, played our 24 bars, then I soloed. I dropped in a Pop Goes the Weasel lick halfway through, but otherwise stuck to an unadventurous but nice sounding blues-scale-based line. It received the usual lukewarm opening solo applause. (Later, somebody told me they thought I would be soloing a lot longer, which was why they didn’t clap.)

From that point on, I was home free. The pressure was off. The rest of the concert went well, even if it ended up being a little long.

Fourth ever jazz concert is done and gone. Back to practicing from The Jazz Piano Book and working on technique, plus I’m going to start a new, critical listening project which I will outline in some detail soon. Updates to Yoity Tot are also long overdue.

New Addition to Yoity Tot List

Since becoming interested in jazz music, I've always been a big fan of the big band sound. Something about all those horns and winds and rhythm instruments, coming down different roads headed in different directions all arriving at the same location at the same time. I don't know if it is the virtuosity of the players, the cleverness of the arrangers, or the resulting sound that appeals to me - probably some mixture of all three. Which is why when I was given the chance to play in a big band, I jumped at it: All that is something I wanted to experience firsthand for myself.

Which is a round about introduction to how I arrived at my latest addition to the Yoity Tot list: The Complete Atomic Mr. Basie. Before we started working on our Valentine's concert tunes, we took a look at a tune called, Teddy the Toad, which is a Neil Hefti arrangement done for Count Basie's orchestra. I couldn't play it for crap, but it sounded vaguely familiar and I liked it's swing moves. Yesterday, our first post-concert practice, we got handed a bunch of new music, including another Hefti-for-Basie arrangement of a well-known swing tune called, Splanky. One of the trombone players in our big band had brought it in and mentioned it was on Basie's album "E=mc2". I seemed to remember that album being the backbone of TCAMB. Again, we beat our way around Splanky, but I couldn't do anything with it right out of the box, not knowing the tune very well on top of not being the world's most talented sight-reader. What a relief to find I had those two tunes on the CD, and listening to it at dinner, I sort of wondered to myself, why hadn't I been more intimate with these great tunes and arrangements.

When I looked at my Yoity Tot list, I was actually surprised that TCAMB was not on it. I can only describe that as some kind of oversight on my part. Oh sure, I've got some other big band stuff on there, like Duke Ellington (with what I call his "medium band"), the Grammy nominated Gordon Goodwin, and of course, Thad Jones and Mel Lewis. And though I can't put it ahead of those overall, there is no doubt in my mind that TCAMB needs to be included in the Yoity Tot list, too. And now it is.

If you are a fan of big band and you don't have that CD, or at least an old LP of E=mc2, you need to go ahead and add it to your shopping cart on your favorite music site. It's one of the swingingest CD's around and killer cool!

AND, WHADDAYA KNOW? That's the 25th entry on the list, completely filling it out for the very first time. From here on out, I'll only be editing the list - taking out what I haven't listened to in a while, putting in what I am listening to - at least until I think the list could do with some growth. Which may be sooner than I think (I've bought ten new CD's in the last week. Who knows how I'll feel about the list after I've listened to them all...)