Key track: “How High The Moon” 77: Christian Scott a Tunde Adjuah: The Emancipation Procrastination (Ropeadope/Stretch Music) Such is Tatum’s genius that he transforms his source material into virtuosic mini concertos, packed with dizzying melodic cascades, inventive substitute chords, and piston-like left-hand accompaniments. It featured his first four studio sides – including wonderfully flamboyant renditions of “Tea For Two” and “Tiger Rag” – augmented by scintillating live recordings recorded at LA’s Shrine Auditorium from 1949. The 1968 compilation, Piano Starts Here, offers a rewarding snapshot of Tatum’s jaw-dropping technique and sparked a revival of interest in Tatum’s music twelve years after his death. Key track: “Carlos” 78: Art Tatum: Piano Starts Here (Columbia)įrom Toledo, Ohio, the visually impaired Art Tatum set an impossibly high bar for jazz piano playing between 1933, when he made his first recordings, to his death in 1956. A scintillating contemporary take on big band, and one of the greatest jazz albums of all-time. The set’s highlights include the pent-up symphonic opener, “Carlos,” oscillating between tension and resolution, and “Out Of The City,” which exudes a metropolitan swing feel. The contrast between Scofield’s acerbic, gnarly guitar lines and the pointillistic detail of Mendoza’s orchestrations offers a juxtaposition of tones and textures that is thrillingly dramatic. Leading Holland’s redoubtable Metropole Orkest, in 2010 Mendoza invited US jazz-rock guitarist Scofield to guest on 54, which presented seven widescreen adaptations of tunes from Scofield’s back catalogue as well as two original numbers. Six-time Grammy winning American arranger Vince Mendoza is renowned for his collaborations with pop and rock acts (Björk, Joni Mitchell) but he’s also worked his magic with jazz performers. Key track: “Bright Size Life” 79: Metropole Orkest feat. Over the course of Metheny’s career, he would go on to make far more ambitious albums but Bright Size Life stands out for its winning combination of youthful energy and masterly assuredness. What resulted was a thrilling showcase for Metheny’s clear-toned, flowing virtuoso style which was defined by elliptical melodic filigrees, liquid improv and flights of untrammeled lyricism. Metheny was just 21 and teaching at Boston’s Berklee School of Music when ECM producer Manfred Eicher, who had heard him play with vibraphonist Gary Burton’s group, recorded the young guitarist with fretless bass maven Jaco Pastorius and drummer Bob Moses. Largely ignored and selling barely 1,000 copies on its release in January 1976, the Missouri guitar magus’ debut jazz album gradually grew in stature and went on to be regarded as a post-bop masterpiece. Click to load video 80: Pat Metheny: Bright Side Life (ECM)

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