1959

In June of 1959, I turned five years old; in September I began kindergarten. Those few details highlight that year in my memory. However, recently I came across a documentary done in 2009 entitled 1959: The Year that Changed Jazz. The film describes four albums released that year. My amazement came from the fact that each album is among my personal favorites. Yet I never realized they all were made in the same year.

Those albums were Kind of Blue by Miles Davis, Time Out by Dave Brubeck, Mingus Ah Um by Charles Mingus and The Shape of Jazz to Come by Ornette Coleman. I originally purchased each of these in vinyl and poured over the liner notes as I always did. I still can't believe that I never took notice of the albums' release dates.

For clarity's sake, I didn't obtain said records at the time of release. While I enjoy giving the impression that while my counterparts innocently played with slinkys and jacks, I was in my room surrounded by Beat Generation writings, wearing a beret and grooving over the latest in cutting edge Jazz. That is not the case. Over a decade would pass until my exploration into Jazz began.

Time Out uses different time signatures on each track. The album was extremely experimental. Critics claimed it would be only listened to in music schools. It was an album for academics, but  would never be accepted by a Jazz audience, let alone become a cross over into the pop market. They were wrong. Take Five from Brubeck's Time Out may be one of the most recognized Jazz numbers. The album was the first Jazz record to sell over a million copies, and Take Five  is still the best selling Jazz single in history. Incredible considering the album's concept and initial reviews.


Kind of Blue marked the shift from hard bop to a music based
entirely on modalities. As opposed to the critics' apprehension of Brubeck's 1959 offering, Miles' album was heralded as one of the best and most significant Jazz recordings. Davis went on to become an iconic musician known for changing his style and embracing new concepts. This album is still ranked among his best.


Charlie Mingus was known for his volatile temper and his mastery of the bass. A prodigy,  he played bass for many jazz legends. Mingus Ah Um highlighted his composition genius. The entire record is excellent, but his elegy to sax player, Lester Young is a personal favorite of mine. They say a song can be deemed a classic if it can transcend its genre. The acoustic guitar version of the elegy, Good Bye Porkpie Hat, by John Renbourn and Bert Jansch validates that belief. The song was given lyrics by both Joni Mitchell and Rahsaan Roland Kirk on their respective albums.


I saved the most controversial for last, The Shape of Jazz to Come. Some hailed it as the most innovative Jazz since Be-Bop. Others opined that it was nothing but atonal noise. By the time I became aware of this album in my late teens, I was already a fan of the experimental music and theatrics of Sun-Ra. His unique sound prepared me for Ornette's unconventional, off-beat music. This album shows the bravery and genius of Ornette Coleman and his quartet. Their dedication to play music they wanted regardless of popularity or critical distain is laudable.

Since watching the documentary, I have listened to all four of the albums. The fact that all of these came out the same year amazes me. 1959 means so much more to me now than just the year I started kindergarten. As ever - BB

"By and large, jazz has always been like the kind of a man you wouldn’t want your daughter to associate with." - Duke Ellington