The Re-Birth of the Cool

Jazz is the sole American art form. It is true that the basic constructions of "jazz" are derived from West African rhythmic styles—polyrhythm, syncopation, and the swung note—and classical European elements—instrumentation, arrangement and foundational theory. But as jazz icon Art Blakey once remarked, "No America, no jazz. I've seen people try to connect it to other countries, for instance to Africa, but it doesn't have a thing to do with Africa." Jazz is American expression, and its influence has had the greatest import of any of our innumerable cultural exports.

The impact of jazz reaches far beyond its immediate effect on other musical styles. Jazz permeates 20th century American visual art, drama, and literature. You can see jazz when you look at Jackson Pollack's Lavender Mist, watch Anatomy of a Murder (with original scores by Duke Ellington), or read Allen Ginsberg's "first thought, best thought." As Bill Evans (jazz pianist and sage) once said, jazz is not itself a style per se, though at times it may appear that way, but it is a means of creation; jazz is, in its essence, the spontaneous act of composition—the creation of the moment in the moment —of making one minute's music in one minute's time.

Miles Davis is the single greatest American artist of the 20th century. By the time he died on September 28, 1991, he had recorded 222 albums (more if you include singles, live performances, anthologies, and appearances on other artists' albums), worked in nine different genres, constructed the first album completely based on modal music, the single original contribution by jazz to music theory in Kind of Blue (1959), and introduced the world to scores of other talented artists in his continually growing, shrinking, and reforming bands.

For a bit of perspective, The Beatles recorded 27 studio albums and two live albums over a career that spanned eight years. During those same eight years, Davis recorded 57 albums including his landmark work in electric-jazz, Bitches Brew, "one of the most remarkable creative statements of the last half-century, in any artistic form," according to The Penguin Guide to Jazz.

"I know what I've done for music, but don't call me a legend. Just call me Miles Davis." – Miles Davis

Jazz, like poetry, has become a mode of expression closely associated with the avant-garde cabal. The pretension now surrounding the music means it doesn't have a reputation for accessibility. That stigma and the sheer size of the catalogue of American jazz music makes taking that first foray into the genre a daunting challenge. Miles Davis alone put out a couple hundred records. How do you choose your first jazz album from that immense selection?

The solution: Jazz Manifesto, a series of album compilations from giants of jazz, packaged conveniently in very affordable CD sets. These aren't traditional compilations either; Jazz Manifesto packages two or more albums in a single set for the price of one album. The artists they have released include Dave Brubeck, John Coltrane, Sony Rollins, Chet Baker, Bill Evans, Count Basie, and, most recently, Miles Davis.

Miles Davis' Manifesto includes two of his immensely important albums, Porgy and Bess and Kind of Blue, as well as Workin' With the Miles Davis Quintet, a straight ahead cool album that stands between Porgy and Blue chronologically. The two-disc set is mastered well and has the fit, finish, and liner notes that one would expect from a Blue Note release.

Jazz Manifesto shows a commitment to bringing the best and most influential jazz artists' music to the masses. This is a great way to expose yourself to music that should not be forgotten or feared. I strongly encourage you to go online and buy the Miles Davis Jazz Manifesto. It is worth every penny and is the best way to begin your collection.

Amazon.com recently released an exclusive Miles Davis The Complete Columbia Album Collection, a limited edition boxed set of all of Davis' Columbia recordings (52 albums on 70 CDs in mini-LP replica jackets) along with a previously unreleased DVD with rare audio, in addition to previously released bonus material from past reissues; a 250- page color book with biography, fully annotated discography, and complete song index, and the first complete audio release of the Aug. 29, 1970 Isle of Wight festival performance. This is a set for someone who is seriously into jazz, Miles Davis, and can con someone, or a corporate entity (like, say, The Cowl for instance) into buying it for them. The price is a staggering $328.49.

The Cowl refused me the set, and I'm sure most of you won't have better luck, so I will make some recommendations as to which Columbia recordings you should buy on your own:

Kind of Blue (1959): Arguably the greatest jazz album of all time, Kind of Blue is the first completely modal album, featuring giants of jazz John Coltrane, Cannonball Adderly, Bill Evans, Paul Chambers, Jimmy Cobb, and Wynton Kelly. This is, hands down, my favorite jazz album of all time. I listen to the whole thing once a week.

Sketches of Spain (1960): Sketches was one of the first albums to strongly incorporate Latin styles and is far more arranged than most of Davis' work, which has led people to remark that it isn't truly jazz. Miles' response: "It's music, and I like it."

Seven Steps to Heaven (1963): This is one of Davis' "searching" works. It is clear that he is moving in a new direction with this album. There are a couple of developmental snags here and there, but it is a generally seamless, soft, and mellow album and a perfect first foray into jazz.