Blind pianist Tristano's 1949 sextet sessions for Capitol are only now establishing their rightful place in cool and free jazz history. Recorded with tenor Warne Marsh and saxophonist Lee Konitz, the Supersonic collection on Definitive Classics is preferred if you can find it. Intuition, however, includes Marsh's 1956 gem Jazz of Two Cities.
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BO the Gerry Mulligan Quartet With Chet Baker The Gerry Mulligan Quartet 1952-53 [Pacific Jazz/Capitol]
Matinee idol looks and the coolest trumpet in the west helped launch Baker to stardom while a member of Gerry Mulligan's quartet. All except one of the tracks here were recorded over an 11-month period in 1952-53. Baker's drug addiction guaranteed that the road ahead would be a rocky one - dying in suspicious circumstances in 1988.
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Django Modern Jazz Quartet 1955 [Prestige]
MJQ's oft-criticised popular sound also has more than its fair share of admirers. This record catalogues the pre-1955 version of the group when Kenny Clarke was still the drummer. While pianist John Lewis is generally acknowledged as the group leader, it was clearly Milt Jackson's vibraphone which defined its trademark sound.
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The Jimmy Giuffre 3 Jimmy Giuffre 1956 [Atlantic]
With reliable backup from guitarist Jim Hall, Giuffre moves effortlessly between saxes and clarinet on several tracks. While conveniently pigeon-holed as cool, Giuffre himself liked to think of this music as "folk jazz". Cool credentials were confirmed when 'The Train & the River' featured in opening credits of the movie Jazz on a Summer's Day.
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My Fair Lady Shelly Manne & his Friends 1956 [Contemporary]
A cheerful band leader who knew how to cool his heels, drummer Manne made his best records for the Contemporary label from 1955-62. This one was a huge hit in its day, thanks largely to the traditional piano trio format with André Previn at the ivories. Always open to new ideas, Manne went on to work in films and run his own nightclub.
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Fontessa The Modern Jazz Quartet 1956 [Atlantic]
MJQ leader John Lewis was experimenting with jazz/classical hybrids well before Dave Brubeck popularised the sound, highlighted here by the title track and 'Versailles'. Toss in a bit of 'Bluesology' and it is plainly evident that these guys can bop and swing with some of the coolest cats around. Milt Jackson features on vibraphone throughout.
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Art Pepper Meets the Rhythm Section Art Pepper 1957 [Contemporary]
A chance opportunity led to altoist Art Pepper meeting up with Miles Davis' rhythm section for a 1957 jam session at LA's Contemporary Studios. The album's track listing follows the order the songs were played in the studio - giving it an undeniable sense of breathtaking spontaneity and emotion. Pepper's finest and highly recommended.
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Time Out The Dave Brubeck Quartet 1959 [Columbia]
In retrospect hard to understand why this album drew so much criticism on release, but Brubeck's white middle class origins and obvious interest in classical music managed to shake more than a few conventional foundations. Brubeck penned all the record's numbers, with the exception of the mega-hit 'Take Five' by Paul Desmond.
