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FromElla to Billie, Coltrane to Ellington, NewOrleansto newworld… Tomark the start of the London JazzFestival, Martin Gayford selects the heart-stopping,hellzapoppin’music no fan should bewithout

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grace of amuch smaller group.Seven decades later, this musicstill sounds freshminted.11Billie Holiday& LesterYoung: AMusicalRomance (Columbia 1937-57) £5.86, RRP £8.99Holiday’s voice and Young’ssaxophonemade a wonderfullycompatible musical couple, bothwry, tender, vulnerable andbeautiful. This compilationcontains some of their mostdelightful encounters, plus onepoignant reunion.12DjangoReinhardt andStéphaneGrappelli:Swing fromParis (ASV1935-39) £6.84, RRP £8.99Reinhardt’s Roma guitar andGrappelli’s lilting violin both drawon Europeanmusical traditions,but fuse with American jazz in acombination that is propulsive,filled with joie de vivre and isjust irresistible.13BennyGoodman: AtCarnegieHall 1938(Columbia 1938) deletedThis renowned concert markedthe arrival of big-band jazz asthemajor form in popular music.It also includes a spontaneousmasterpiece in the pianoimprovisation by Jess Stacyon Sing, Sing, Sing.14FatsWaller: TheBest

of FatsWaller (RCA1929-42) deletedWaller was amasterpianist in thedriving Harlemstyle known as‘stride’, but he was

also a great spirit:carefree, insouciant

and Falstaffian.15 Lionel Hampton andhisOrchestra: 1938-9(Classics) £10.76, RRP£10.99Hampton, the first vibesvirtuoso, was the leader onsome of themost infectiouslyhigh-spirited small-group jazzrecordings of the swing erafeaturing various star soloists.16ColemanHawkins:Body andSoul: TheCompleteVictorRecordings1939-56(RCA) deletedHawkins was the first to makegreat jazz on the tenorsaxophone and the first masterof the romantic ballad, nevermore opulently than in his 1939performance of Body and Soul.17SidneyBechet: JazzClassicsVols 1&2 (1939-51) deleted

Recorded jazz is still under a century old, but ina little over nine decades an enormous quantityof music has amassed.To absorb and assess even

a substantial proportion of it requires a lifetime of listening.What follows is a strictly chronological roll-call ofacknowledged jazz masterpieces, together with – it ishoped – some outstanding performances that will be lessfamiliar even to a dedicated fan. It’s worth noting that earlyjazz, and a great deal of the classic middle period, too, isnow out of copyright and sometimes available in abewildering variety of permutations.The reissues notedare merely suggestions.

The London Jazz Festival runs from this Friday untilNovember 22 at venues throughout the capital. Call 0207324 1880 or visit www.londonjazzfestival.org.uk forfurther information

4 Jelly Roll Morton:Volumes1-5 (JSP 1926-1930) deletedJelly Roll was a pool-shark,hustler and pimp, but also thefinest pianist to come out ofNew Orleans and the first greatcomposer/arranger in jazz,above all in these recordings.5 JohnnyDodds:DefinitiveDodds (Retrieval1926-7) £10.76, RRP £11.99Skirling and insistent in theupper register, plumy and fluidin the lower, Dodds’s clarinetwas among themostcompelling voices to emergefromNewOrleans.6 LouisArmstrong: TheCompleteHot Five andHotSevenRecordings(Columbia 1925-9) deletedThe Old Testament of jazz inwhich the youthful LouisArmstrong emerges like aprophet, filled with power andglorious eloquence. His exampleinfluenced almost all of 20th-century popular music.7FletcherHenderson:TidalWave (GPR 1930)£9.78, RRP £10.99With performances such asDown South CampMeetin’(included on this), Henderson’sband led the way to the big era.He also employed some of thebest soloists in New York,Coleman Hawkinsamong them.8DukeEllington:Masterpieces1926-1949(Proper Box 25)£16.62, RRP £16.99It’s impossible to choosefrom the cornucopia ofmagnificent explorations ofmood and tone-colour thatDuke recorded between the lateTwenties and themid-Forties.This compilation hasmany ofthe best.9SpikeHughes&BennyCarter: 1933 (Retrieval)£10.76, RRP £10.99The British arranger producedsome of themost beguilingarrangements of the earlyswing era, performed in NewYork with magnificent solosfrom Carter, Coleman Hawkins,and the trombonist DickyWells.10CountBasie: TheOriginal AmericanDeccaRecordings (MCA 1937-39)deletedBasie’s big band had apropulsive beat, a cluster ofgreat soloists and the easy

up to

30%discount

1KingOliver: KingOliver’s Creole Jazz Band:TheCompleteSet (1923-24) Retrieval, £12.72, RRP£14.99Listen through the dim anddistant acoustic sound – thefirst great series of jazzrecordings – and you willencounter the intricate andjoyous sound of New Orleans atits absolute peak.2Bessie Smith: CompleteRecordings (Frog Vols 1-81923-33), deletedBessie Smith’s recording of theTwenties – accompanied bysuchmusicians as LouisArmstrong, James P JohnsonArmstrong, James P JohnsonArmstrong, James P Johnsonand the sweet-toned trumpeterand the sweet-toned trumpeterand the sweet-toned trumpeterJoe Smith – have amatchlessJoe Smith – have amatchlessJoe Smith – have amatchlessstateliness of delivery andstateliness of delivery andstateliness of delivery andmonumental vocal strength.3BixBeiderbecke: Bix&Tram (JSP 1926-29)£16.62, RRP £17.99Beiderbecke was the doomedScott Fitzgerald of music. Butbefore the whisky killed him, heintroduced a newmood into jazz– romantic, wistful – on theseperformances with thesaxophonist Frankie Trumbauer.

ILLUSTRATIONS JiMFLORa

100bestjazzrecordings

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Bechet, a clarinettist andsoprano saxophonist, had, toa greater extent than any otherperformer, that mixture ofarrogance, elation and powerknown as the ‘rooster crow’.18 Jelly Roll Morton: TheLibrary ofCongressRecordings (Rounder1938) deletedJelly Roll’s reminiscences,spoken, sung and played intoamicrophone are a uniqueautobiography in sound –colourful, outrageous, boastful,beautiful and a piece ofAmericana to rank withHuckleberry Finn.19 LesterYoung: TheLesterYoungStory(Proper Box 1939-49)£16.62, RRP £16.99The tenor saxophonist brought

a new sensibility into big-bandswing – in short, he inventedmusical cool. His earlyrecordings, mostly on here,remain extraordinarily fresh.20Charlie Christian: TheGenius of the ElectricGuitar (Sony Legacy 1939-41) deletedChristian had a tantalisinglybrief career during which heeffectively introduced a newinstrument – the electricguitar – into jazz and adistinctive style, punchy anddeclamatory. Every note heplayed wasmemorable.21Charlie Parker: TheCompleteSavoyandDialStudio Recordings (1944-48) deletedParker transformed jazz,fundamentally and for good,both harmonically andrhythmically. His music flewfast as thought and with abuttonholing urgency. Theessence of his achievement

is here.22 LouisArmstrong:CompleteNewYorkTownHallandBostonSymphonyHallConcerts (1947)£22.50, RRP £22.99Satchmo fronts aband – with Jack

Teagarden ontrombone, Sid Catlett drums– that deserves the name

All-Stars. Everyone’s onmagnificent form; Armstronghimself is sublime.

23TheloniousMonk:Genius ofModernMusicVols I & 2(Blue Note,1947-52) Vol 1£8.80, RRP£8.99, Vol 2£8.80, RRP £8.99On these earlysessions Monk gives theimpression of reinventingmusic,slightly different from the way itwas before; each piece is tart,compressed and a bit startling.24MilesDavis: Birth oftheCool (1948-50) £10.76,RRP £12.99Bebopwas fast and hot. For thisnine-piece ensemble Davis andhis collaborators – including GilEvans and Gerry Mulligan –came upwith a new sound:mellow, light and floating.25BudPowell: TheAmazingBudPowell VolsI & 2 (1949-51) Vol 1 £8.80,RRP £8.99, Vol 2 £8.80, RRP£8.99More audibly driven by demonsthan any pianist in jazz, Powell’smusic was fast, intense andsometimes, in the words of onetitle, Un Poco Loco.26GerryMulligan: TheBest of theGerryMulliganQuartetwithChetBaker (Pacific Jazz1952-57) deletedThe avuncular-soundingbaritone saxophonist teamedup with the lyrical trumpeter,Chet Baker, and a piano-lessrhythm section of just bass anddrums. The result: a novel laid-back informality in jazz.

27Ella Fitzgerald:Pure Ella (1950-54)deletedElla’s voice was at apeak of creamyperfection whenshemade thesesides with only

the dulcet pianoaccompaniment of Ellis

Larkins: a superb recitalof American popular song.28SarahVaughan:CompleteRecordingswithCliffordBrown (LoneHill 1954) deletedWith an opera-singer’s rangeand a sophisticated harmonicsense, Vaughan was thevocalist in post-war jazz. Shecould soundmannered, butnot here.29AlHaig: OneDaySession (Fresh Sound1954) £10.76 RRP £10.99Haig was themost stylishlyfastidious of bebop pianists, histouch a thing of beauty. He andhis trio glide through thesestandards as if floating on air.30Errol Garner: Concertby theSea (Columbia1955) £8.80, RRP £8.99Self-taught and unable to readmusic, Garner came upwitha style that was all his own,seeming sometimes to strumthe piano like a gigantic guitar:jovial and hugely entertaining.31BigJoeTurner:BossoftheBlues (1955) deletedA giant of a man, with anenormous cavernous voice,Turner is onmajestic form forthis session, which becomes

a summation of themusicaltradition of his native town,Kansas City.32The JazzMessengers:At theCaféBohemiaVolsI & 2 (1955) Vol 1 £9.78, RRP£9.99, Vol 2 £9.78, RRP £9.99Drummer Art Blakey led theMessengers, a sort of eliteacademy of modern jazz,throughmany incarnations –nonemore impressive than thisearly quintet version, stretchingout at a New York club.33CliffordBrown/MaxRoach: At Basin Street(Emarcy 1956) £9.78, RRP£10.99Brown’s sound on trumpetwas glowing and golden, hisdelivery majestic. Thiscaptures the quintet he co-ledwith drummer Max Roach onfabulous form, shortly beforeBrown’s early death.34TheloniousMonk:Brilliant Corners (Riverside1956) £9.78,RRP £13.99Brilliant indeed, but alsodisconcerting, the title piecebegins with a series of judderinggear-changes in tempo likenothing else in music. These areMonk’s most accomplishedsmall band performances.35SonnyRollins:SaxophoneColossus(Prestige 1956) £8.80, RRP£10.99Blue Seven, a long, reflectivetrack, has long been acclaimedas amasterpiece, in which nota note of Rollins’s tenor solocould be altered. The rest of thesession is almost as good.

About the artist: how Jim Floramade jazz come alive

James (Jim) Flora, who drew the wonderfulillustrations on these pages, created caricatures of

jazz legends for Columbia and RCA Victor Records in theForties and Fifties. He lavished album sleeves and printephemera with outrageous portraits of jazz giants LouisArmstrong, Gene Krupa, Bing Crosby, Benny Goodman anddozens of their swing and bop-era brethren. Flora reduced these immortals tofarcical creatures, with fried-egg eyes, bedspread-pattern skin tints and bonuslimbs. ‘I had no idea of likeness at all,’ he once said. ‘I always thought that themusicians did their thing and it wasmy turn to domy thing.’Flora (1914-1998) left a legacy of paintings, sketches, woodcuts and illustrations

reflecting this passion for jazz. He recalled a Fifties episode: ‘I spent four hourssketching a Duke Ellington recording session. Duke and Billy Strayhorn wereworking on a tune and couldn’t get it right. They would write, then call in the band– whowere reading or smoking cigarettes – and the band would play, but it wasn’tright. After four hours, they had not recorded one sound. In the end they recordedthis new piece and it was fabulous. And I had a bunch of sketches.’Together with Barbara Economon, I have compiled three anthologies of Flora’s

album covers, bizarre woodcuts and curiously sinister fine art. His work can beviewed and purchased at JimFlora.com and at jimflora.blogspot.com.IRWINCHUSID

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36SergeChaloff: BlueSerge (1956) deletedChaloff, whose family camefrom Russia, brings a Slavicsoulfulness to the baritonesaxophone. This, recordedshortly before his early death,is his richest, most poignantandmature recording.37 LesterYoung: JazzGiants ’56 (Verve, 1956)£9.78, RRP £10.99This summitconference ofmainstream jazzsoloists containsthe wistful,melancholy lateLester Young, andTeddyWilson, RoyEldridge and Vic Dickensonall playing at their mellow,relaxedmaturity.38Art Tatum: TheSoloMasterpieces (Pablo 1953-56) deletedTatumwas themostextraordinary keyboard virtuosoin jazz. There are seven CDs ofthese solo performances, allequally marvellous: the effectis rich, even florid, butcompletely satisfying.39Art Tatum&BenWebster: TheAlbum(originally Verve, 1956)deletedTatum could have been anoverwhelming accompanist.But the relaxed approach andhuge tone of Webster’s tenorsaxophone, a warm fog ofsound, was the ideal foil forhis ornate piano.40Art Pepper: ArtPepperMeets theRhythmSection(Contemporary 1957) £9.78,RRP £9.99The alto saxophonist had neverplayed with the rest of the bandand was strung-out to boot. Butthe cool, inventive resultcouldn’t have been improvedby weeks of rehearsal.41CountBasie: TheAtomicMrBasie (1957)£10.76, RRP £11.99That title, and themushroomcloud on the cover, maybe in dubious taste,but this truly isexplosive. Big band jazz neverhadmore punch and power.42SonnyRollins:WayOutWest (1957) £9.78,RRP £9.99Rollins’s tough-tenorsaxophone has a sardonicwit. Here, accompanied by justbass and drums, he performs

improbable cowboy tunes suchasWagonWheelswith deadpanhumour and inventive brilliance.43Ella Fitzgerald andLouisArmstrong: Ella andLouis (Verve, 1957) £9.78,RRP £9.99Armstrong plays some trumpet,but essentially this is a duetbetween two great singers –Ella supremely poised and

mellifluous, Louis with avoice like a dredger.44Billie Holiday:Songs forDistinguéLovers (Verve,1957) £11.74,RRP £11.99

With time her voicefaded, but Holiday’s ability

to infuse wry and tenderemotional power into a lyric justgrew and grew. This sessionfinds her at her interpretivepeak.45ColemanHawkinsEncounters BenWebster(Verve 1957) £9.78, RRP£10.99Here two great tenorsaxophonists – Hawkins witha stronger, darker sound;Webster smoother and airier –contrast like black coffee andcappuccino. It’s not a contestbut a rich combination.46Art Farmer: A PortraitofArt (1958) deletedFarmer was, with Chet Bakerand Miles Davis, one of the coolandmellow school oftrumpeters. This unpretentiousquartet set of ballads and bluesis tender, intimate and flawless.47Cannonball Adderley:Somethin’ Else (Blue Note1958) £8.80, RRP £8.99Though issued under Adderley’sname, this contains some ofMiles Davis’s greatest playing,especially on a ravishing versionof Autumn Leaves. Cannonballand Hank Jones on piano

performwith impeccableelegance.48Bill Evans: EverybodyDigsBill Evans (Riverside1958) £8.80, RRP £9.99Evans introduced something ofthe feeling and delicacy ofclassical pianomusic into thejazz tradition. This –alternatively lyrical and driving,Debussy plus bebop – is his firstgreat recording.49 JimmyRushing: LittleJimmyand theBigBrass (1958)deletedRushing’s baritonehad amelancholyundertow and abluesy burr, butoverall the effect isexuberant as hebreezes along with asuperb big band roaring behindhim.50PeeWeeRussell:Swingwith PeeWee(Prestige 1958) deletedBlown by PeeWee, a truemusical individualist, the clarinet

seemed to change its musicalcharacter, by turns becomingsquawky, rasping, whispery andguttural. On balance, this is hisfinest moment.51DaveBrubeck: TimeOut (Columbia 1959) £6.84,RRP £6.99Take Five is too well-known forits own good, but this collectionof elegant experiments withunusual time signaturesremains delightful, above all for

the airy beauty of PaulDesmond’s altosaxophone.52MilesDavis:Kind of Blue(1959) £5.86,RRP £ 7.99

A perfect album, inwhich an unbeatable

group – including JohnColtrane, Cannonball Adderleyand Bill Evans – sustain awonderful mood – hip, enigmatic– and launch a novel musicalidiom: modal jazz.53DukeEllington andJohnnyHodges: BacktoBack (1959) deletedHodges, themost rhapsodic ofalto saxophonists, worked withEllington for decades. Thiscatches them on relaxed butincisive form, in the company of

a few compatible musicians anda handful of blues.54 JohnColtrane: GiantSteps (1959) £9.78, RRP£9.99This is the recording on whichColtrane emerged as aperformer of mesmerisingauthority and – on several ofthese pieces – dizzying speedof execution. He was totransform jazz completely.55CharlesMingus: BluesandRoots (Atlantic 1959)£9.78, RRP £ 10.99The bassist and composerbrings the newest kind of jazz –bebop verging on free jazz –together with some of theoldest, including gospel andJelly Roll Morton – a splendidlyturbulent blend.56HankMobley: SoulStation (1960) £8.80, RRP£8.99There are tenor saxophoneplus rhythm sessions withoutnumber, but not many asflawlessly conceived andexecuted as this impeccablelate bop session: relaxed butnot a note out of place.57BobBrookmeyer: TheBluesHot andCold (1960)£10.76, RRP £10.99The trombonewas a neglectedinstrument in post-war jazz, butnot when Brookmeyer wasaround. On this – rasping,sighing, gentle, sardonic – he’sthe perfect tough guy of jazz.58OrnetteColeman: TheShapeof Jazz toCome(Atlantic 1959-1960) £6.84,RRP £7.99Coleman had a sound aspiercing as a cry and wasindifferent to the rules ofconventional harmony. This wasthe shape of free jazz to come.59Gil Evans: Out of theCool (1960) £9.78, RRP£10.99After Ellington, Evans was themaster arranger of large jazzensembles, adding a fresh rangeof atmospheric, pastel tone-colours to the repertoire.60 JohnColtrane:MyFavourite Things (Atlantic1960) £8.80, RRP £8.99Forget Julie Andrews, Coltrane –playing soprano saxophone –transformed the cute little tunefrom The Sound of Music intoamystical mantra. It seems tocarry on to infinity. The Sixties

start here.61Bill Evans:Waltzfor Debbie (Riverside

1961) £9.78, RRP £9.99WILLIAMGOTTLIEB/REDFERNS;PPR;cOuRTESyJIMFLORA.cOM;©

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Evans not only devised a newmode for jazz piano, he alsorevolutionised his trio by settinghis bassist Scott LeFaro freefrom timekeeping. This catchesthem, live, at a peak.62BennyCarter: FurtherDefinitions (Impulse! 1961)£9.78, RRP £10.99An elegantly poised soloist onalto-saxophone, Carter wasalso themost stylish ofarrangers for reeds. Here heleads a saxophone ensemblethrough some of themostglorious performances ofhis long career.63StanGetz:Focus (Verve1961) £9.78,RRP £10.99Jazz with stringsalbums almost neverwork, but this onereally does. The arranger,Eddie Sauter, borrows the titletrack from Bartok, Roy Haynes’sdrums are urgent, Getz’s tenorsoars.64OliverNelson: TheBlues and theAbstractTruth (Impulse! 1961)£11.74, RRP £11.99There’s a wonderful band onthis – Eric Dolphy, Bill Evans andthe imperious Freddie Hubbardon trumpet. It is Nelson’s writingand arranging, however, thatgive it such style and unity.65 JoeHenderson: PageOne (Blue Note 1963)£9.78, RRP £9.99A delightful Latin infusion runsthroughmuch of themusic onthis session by Henderson andKenny Dorham, one of themostoutstanding – and underrated –trumpet/tenor teams in jazz.66StanGetz: Getz/Gilberto (Verve 1963)£9.78, RRP £9.99Mixing jazz and bossa novabecame a craze and later acliché. This meeting betweenGetz and Astrud and JoãoGilberto, however, remainsirresistible: an early tour deforce of world music.67 LeeMorgan: TheSidewinder (Blue Note1963), £8.80, RRP £8.99This trumpet and tenor quintetsession is that rare thing, apopular jazz hit. Endlessattempts weremade toimitate the infectiousfunkiness of the title track, butnone quite succeeded.68CharlesMingus: TheBlackSaint and theSinner Lady (Impulse!,

1963) £9.78, RRP £9.99Raging, sighing, languorous,furious – this tumultuous six-part composition expresses allthe contradictory emotionsswirling inside Mingus’s head(and comes with a commentaryby his psychiatrist).69HoraceSilver: SongForMyFather (Blue Note1964) £7.82, RRP £8.99The title track has a liltinglyattractive themewith a Latinfeel, an insistent beat – anda brilliant storming tenor solo

from Joe Henderson thatreally makes it classic.70WayneShorter: SpeakNoEvil (1964)£8.80, RRP £8.99Amaster

saxophonist, Shorteris also one of themost

distinctive composers injazz. His zenith came in themidSixties, most compellingly herein company with HerbieHancock and Freddie Hubbard.71HerbieHancock:MaidenVoyage (Blue Note1964), £8.80, RRP £8.99Amarvellous blend ofcomposition, improvisation andoverall mood. Hancock’s piano,TonyWilliams’s drumming andthe ensemble seem to growturbulent then calm, like the sea.72Eric Dolphy: Out toLunch (Blue Note 1964),£8.80, RRP £8.99With the extraterrestrial chimingof Bobby Hutcherson’s vibes –and Dolphy’s own fearlessflights to the limits ofconventional harmony on flute,alto saxophone and bassclarinet – this seems like jazzfrom outer space.73 JohnColtrane: A LoveSupreme (1965) £9.78, RRP£9.99Coltrane is the only jazzmusician to have a church

founded in his honour and thisextraordinary record explainswhy. Passionate, intense andprayer-like, this is modern jazzas spiritual revelation.74DukeEllington: FarEast Suite (RCA 1966)deletedThesemajestic musicalvignettes of Asian lands area peak in the work of Ellingtonand his composing partner, BillyStrayhorn. No big band jazz isricher or more audacious.75ChickCorea:NowHeSings,NowHeSobs(1968) £8.80,RRP £8.99Corea brought anew abstraction tojazz piano. With its titlederived from the I Ching,this adventurous piano triosession is of its time, butcontains the essence of hismusic.76MilesDavis: In a SilentWay (Columbia 1969) £8.80,RRP £8.99Having already initiated twonew developments – cool andmodal jazz – with this exercisein hip impressionism, Davisentered a twilit, twinkling worldof electric sounds andinaugurated the era of jazz-rock.

77Modern JazzQuartet:Last Concert (1974)£13.70, RRP £16.99The elegant MJQ had beenplaying dulcet chamber jazztogether for two decadesbefore this highly chargedperformance, as smoothlymeshed as a Rolls-Royce.78Keith Jarrett: TheKölnConcert (ECM 1975)£12.72, RRP £16.99In this epic performance –

alternatively funky, lyrical,churchy and rocking –Jarrett extends solopiano improvisationup to, and beyond,the length ofa Beethoven

piano sonata.79 JimHall:

Concierto (1975)£8.80, RRP £8.99This version of Rodrigo’sConcierto de Aranjuez – withHall on guitar, plus Chet Bakerand Paul Desmond – is morepersuasive than Miles Davis’s(and the rest of the album isbetter still).80CountBasie/ZootSims: Basie andZoot(Pablo 1975) £9.78, RRP£10.99Basie was a suprememusicalminimalist, making oneperfectly placed note do thework of 10. This pairing withZoot Sims on tenor saxophoneproduces jazz at its mostinfectiously enjoyable.81 JoeVenuti and EarlHines: Hot Sonatas(Chiaroscuro 1975)deleted

Two cantankerous old men –Hines the inventor of Thirtiesjazz piano, Venuti a violinist fromthe Al Capone era – join up toplay an crazy anarchic, swing.No avant-garde ever soundedwilder.82Weather Report: Black

Market (Columbia 1976)£8.80, RRP £8.99By taking the impressioniststrand in Sixties jazz, andadding electric sounds and rockbeats, Weather Report hit ona formula that returned jazz tomass popularity – and withconsiderable charm.83 JimmyRowles/RayBrown: AsGoodas itGets (1977) deletedJimmy Rowles, whoaccompanied Billie Holiday andtaught Marilyn Monroe how tosing, had an impish wit at thepiano keyboard – beautifullyunderpinned here by RayBrown’s bass.84KennyDavern: TheHotThree (1979) £13.70,RRP £16.99The finest jazz clarinettist ofthe late 20th century, Davernperformswith just piano anddrums tomake NewOrleansrevivalist jazz so imaginativeand accomplished it turns intosomething fresh and new.85TommyFlanagan:Super Session (Enja 1980)£9.78, RRP £9.99Flanagan was always adelightfully thoughtfulperformer. What makes this triospecial is the combination of hispiano with the volcanic energyof Elvin Jones at the drums.86 JoePass& JJ Johnson:We’ll Be TogetherAgain(Pablo 1983) deletedAn unaccompanied duetbetween guitar and trombonemight seem an uninvitingprospect. This, though, isa delightfully inventive affair,bringing out the best in bothmusicians: creative, wittyand unexpected.87WarneMarsh: StarHighs (Criss Cross 1982)£12.72, RRP £13.99Marsh’s sound on tenorsaxophone was so cool itsometimes verged on beingrefrigerated. That impassivity,however, sometimes concealedamusical imagination oftremendous scope. This is anoverlooked gem.88ChetBaker: Blues foraReason (Criss Cross1984) £12.72, RRP £13.99Drug abuse caused terribledamage to Baker’s health andappearance. His trumpetplaying, though, grew ever moreexpressive. This late meetingwith the tenor-player WarneMarsh is a neglectedmasterpiece.G

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Big drawObeysh thehippo photographed atRegent’s Park zoo, 1855

artsDANCE MUSIC THEATRE ART OPERA FILM

in China’s OpiumWars wererearranged for better aestheticeffect.Meanwhile, the firstphotographic social historianswere capturing a vanishingworld at home:Glasgowslums were photographedbefore tenements wereknocked down in civicimprovements, JohnThomson’s Street Incidentswas one of the firstpublications to record visuallythe working-classes’ daily lives.And public entertainmentswere shot for those far away:the zoo at Regent’s Parkobtained the first hippo everseen in Britain.Named‘Obeysh’, he was sociallyprominent enough to bephotographed by no lessthan a claimant to theSpanish throne.Artists, too,were grappling

with new possibilities: PeterHenry Emerson’s images ofEast Anglia wonderfullycapture the flat, silver light ofthe marshes;Alvin Coburnand others created a hazy,ghostly beauty out of themisty conjunctions of lightand dark, fog and shade.Hustlers and charlatans

joined in,with ‘spiritphotographers’ producingimages of the ‘dead’, therebydemonstrating that, as withwar images, fakery was alwayspart of photography.Manipulation was as mucha part of photographing theliving as the dead, and even inportraiture, studios providedprops, pillars and backdrops toenhance the status of theirsitters. Photography createdthe earliest celebrities:Dickensclaimed to have been chaseddown the street byphotographers, andcommercial images of royalty,actors and writers werebought and sold, and pastedinto albums.Moving from scientific

experiment to mundanefact of life, the 19th-centuryphotograph created ourimage-driven world.Here theBritish Library triumphantlyshows how it all began.

Andrew Graham-Dixon is away

art Life through a lens

Points ofView:Capturing the

19thCentury in Photographs

""""! British library, london

NW1 (0870 444 1500), to Mar 7

We have movedrapidly from atime when images

were rare (most of humanhistory), through a periodwhen they were common(the 20th century), to thepresent,when images – onphones, films and computers– are our primary method ofconveying information.Points ofView sends us

back to the beginning.When,in 1839,Louis Daguerre andHenry FoxTalbotsimultaneously inventedmechanical methods ofpermanently reproducingreality onto flat surfaces, thequestion arose:what isphotography for?The BritishLibrary has performed a rarefeat: it has made that questionseem urgent once more.First, technological

challenges needed to be dealtwith. For centuries, opticallenses had been able toreproduce the world on atemporary basis. In France,Daguerre found a way ofcreating a brilliantly sharp,highly detailed image, but the

daguerreotype was always aone-off image that could notbe reproduced. It wasTalbot’sinvention of the negative thatled to the creation of multiplereproductions, andphotography was away.By the 1850s, there was an

explosion of interest, and theexhibition embraces a vastrange of subjects.A travellingphotography box reminds usthat these were not the days of‘point and click’: the box,withglass negatives and portabledarkroom,needed two men tocarry it. In the 1860s, SamuelBourne travelled to theHimalayas and one imageshows his ‘darkroom’ tent,with attendants waitingoutside bearing inflatablebuffalos that would carry themand his equipment across anearby river.By 1901, theUnderwoodTravel Library,which produced images forstereoscopes, early 3D viewers,claimed to be selling10million photo-cards a year.The Industrial Age was

recorded as a celebration ofmodernity (the underground,theAswan Dam),while warbrought another form ofrecord.By the 1850s,CrimeanWar photographsshowed militaryencampments; a decade later,the CivilWar dead themselveswere photographed. Just astoday, images lied: the bodies

JuDiTHFlANDeRS

A new exhibition brilliantly explores the birthand growth of today’s image-driven world

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89DickWellstood: Liveat theStickyWicket(Arbors 1986) £13.70, RRP£13.99A one-man history of jazz piano,Wellstood sweeps through therepertoire from ragtime toColtrane on this – wisecrackingall the while – at a little club inNew England. Utterly engaging.90ScottHamilton, JakeHanna&DaveMcKenna:Major League (ConcordJazz 1986) deletedThis unorthodox little trio justsizzles along, Hamilton’s tenorsaxophone propelled by Hannaon drums andMcKenna’s pile-driving piano. As exhilaratinga recording as latter-day jazzhas produced.91Hank Jones: UponReflection (1993) deletedThe pianist Hank Jones anddrummer Elvin play themusicof their late brother, Thad, withresults both elegant andelegiac. Amoving joint effortby a great jazz family.92CassandraWilson:Blue Light ’Til Dawn (BlueNote 1993) £10.76, RRP£10.99Wilson explores a dark, broodingalmost spectral mood. Herversion of Robert Johnson’sHell Hound onMy Trail is enoughto raise the hair on the back ofyour neck.93McCoyTyner andBobbyHutcherson:ManhattanMoods (Verve,1993) deletedTyner’s swelling, extravagantpiano can sometimes seemover-rich, but here it providesa sumptuous counterpoint toHutcherson’s sparking vibes.Deliriously romantic stuff.94WyntonMarsalis:Bloodon the Fields(Columbia, 1994) deletedMarsalis has continued thetradition of Armstrong andEllington into the 21st century.This mighty, if flawed, jazzoratorio – a panorama of Afro-American history – is his mostambitious work.95RubyBraff&EllisLarkins: CallingBerlinVol I & 2 (Arbors, 1994) Vol1 £9.78, RRP £9.99, Vol 2

£9.78, RRP £9.99Larkins was themost dulcetand feather-light of pianists,Braff a unique trumpeter/cornetist. Theymademanybeautiful duet recordingsover the years, nonemore so

than these, the last.96 LeeKonitz, BradMehldau&Charlie Haden:AloneTogether (Blue Note1996) £9.78, RRP £9.99Three generations –septuagenarian saxophonistKonitz, middle-aged bassistHaden and twentysomethingMehldau – revisit a series ofstandards in wonderfully quirkyfashion. You feel there’s plentymoremileage in this idiom still.97BradMehldau: TheArtof theTrio (1997) deletedUndeterred by all the great jazzpiano players who came before,Mehldau has brought the idiomto a level of complexity andseriousness comparable withclassical music, never more sothan here.98WarrenVaché/BillCharlap: 2gether (2000)deletedChamber jazz of the highestorder, at times so hushed thatVaché’s cornet sometimesseems to bemurmuring inour ear, at others the interplaywith Charlap on piano is briskand vivacious.99 Joe Lovano andHankJones: Live atDizzy’s(2006) £12.72, RRP £12.99Lovano’s tenor saxophone –warm, fuzzy and eloquent –is a superlative foil for HankJones, well into his eighties, butstill delectably poised andprecise at the piano.100MartyGrosz and theHotWinds: TheClassicSessions (2009) £13.70,RRP £13.99A band of improbableinstruments, including thebass saxophone and echocornet, performs forgottenmusic of the Twenties andThirties. The result is irresistiblyeuphoric: proof that jazzremains full of life.

Document:1018CC-RVUSJ-1-081109-A018C-XX.pdf;Format:(230.00x311.00mm);Date:Nov03,200918:26:55;Telegraph