||The Encyclopedia Of Jazz 'The World's Greatest Jazz Collection'
||Various Artists from the 1920s through the 1950s
||6 - Mint (M) (?)
||WORLD'S LARGEST BOX SET EVER ISSUED!!
|[View more albums from WebernnrebeW]|
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For sale in this listing is the complete 500 CD Box Set, The Encyclopedia Of Jazz 'The World's Greatest Jazz Collection' issued in 2008 on the German Membran label in MINT unplayed condition, complete with the rare mint suitcase-style outer box and all internal pieces of packing cardboard! I am the original owner of this set purchasing it in 2008 and having it shipped from Germany (shipping wasn't cheap!). Almost all of these box sets were broken up with the individual five 100-CD box sets being offered individually. I only played a few discs a small number of times and over 99.5% of the discs are unplayed. Remastering throughout the set is superb. Each 100-CD sub-set comes with a printed booklet with complete discographical information (personnel, dates, locations, matrix/take numbers, etc.) and a CD-ROM that chronicles the entire 500 CD collection.
The offered price is for cash pick-up and if I receive my full asking price I will include the 1358-page reference book, 'THE NEW GROVE DICTIONARY OF JAZZ'. I will consider shipping this set within North America, but it is heavy (approx. 20 kg) and it may take a bit of time to come up with a suitable shipping box. If you are interested in this set and wish it to be sent, please e-mail me with your location so I can give you an accurate shipping quote.
Finally, below is some copy for the set when it was originally released that gives a pretty accurate indication of contents. Also, if you wish, please ask any questions or requests for additional pictures.
Worldwide, Big and Unique - The musical Jazz Lexicon on 500 CDs
This “Encyclopedia of Jazz” is the first standard collection which will be hard to copy or to top. The decisive periods in the development of jazz are captured in five box sets, each containing 100 compact discs, from 1) classic jazz to 2) small-group swing and the era of 3) big bands, to 4) bebop, and finally 5) cool jazz and hard bop of the 1950s. More than 10,000 titles are present with occasional alternates of significant works, with all the musicians who played an important role in their time and who influenced the development of jazz. Each of the aesthetically-designed hard cardboard box sets (measuring approximately 135 x 400 x 135 cm) contains 100 discs, being reasonably compact, manageable and neatly arranged with each individual CD in its own cardboard sleeve/wallet with the convenience of track listings on the back of each sleeve. Complete line-ups and full disco-graphical details (with take or matrix numbers) are included in the enclosed booklet for each of the five sets. As well, as a CD-ROM for the entire series is available in each of the five separate boxes. The individual box sets and a description are as follows:
THE ENCYCLOPEDIA OF JAZZ PART 1 - CLASSIC JAZZ
From New Orleans to Harlem. The most important recordings of the golden age. with King Oliver, Jelly Roll Morton, Louis Armstrong, Johnny Dodds, Jimmie Noone, Sidney Bechet, Bix Beiderbecke, Duke Ellington, Fletcher Henderson, Earl Hines, Jack Teagarden, Red Nichols, Clarence Williams, Muggsy Spanier, Frank Teschemacher, Adrian Rollini, etc. 100-CD-Box with original recordings, excellently remastered.
New Orleans was the starting point of collective improvisation. The jazz for which the city on the Mississippi delta was to become so famous for developed at the beginning of the 20th century – fusing Creole-Afro-American music, Marching Bands and French Quadrilles. With the rise of Swing, New York and Chicago became the new jazz capitals.
The early jazz, which was played in honky-tonks or in the streets of New Orleans and later in New York and Chicago, is excellently covered in this set with the rich musical heritage connected to many prominent names: King Oliver, Louis Armstrong, Jelly Roll Morton, Duke Ellington, Bix Beiderbecke, Eddie Condon, Jimmie Noone, Johnny Dodds, Jack Teagarden, Eddie Lang, Bud Freeman – the list is much longer. Included are the most important recordings of Classic Jazz: New Orleans Jazz, Dixieland, New York and Chicago Jazz, Kansas City, Harlem and Territory Jazz, from 1917 to 1932.
Highlights of this edition are the complete titles which the mighty cornetist Joe “King” Oliver recorded in Chicago and New York. The young Louis Armstrong is represented on his recordings of the 1920s and 1930s. He can be heard with King Oliver and Fletcher Henderson as well as with his Hot Five, Hot Seven and with the band of Luis Russell.
THE ENCYCLOPEDIA OF JAZZ PART 2 – SMALL GROUP SWING TIME
All-Star Swing groups with their most famous recordings. with Henry Allen, Roy Eldridge, Ben Webster, Coleman Hawkins, Lester Young, Johnny Hodges, Benny Carter, Fats Waller, Art Tatum, Benny Goodman, Lionel Hampton, Red Norvo, Teddy Wilson, Buck Clayton, Django Reinhardt, Jack Teagarden, Rex Stewart, Chu Berry, Charlie Christian, Louis Armstrong etc. 100-CD-Box with original recordings.
The music of the decade between the Depression and World War II gave people hope – and entertainment. Swing records, ballrooms and touring bands made Swing one of the most rousing Jazz styles. One of the reasons is evidently that the music was made for dancing and people were tempted to dance. But the big bands alone were not the cause of the jazz craze but also the abundance of small groups presenting the best soloists at the time. The swing era celebrated them: soloists such as Lester Young whose later work is covered to a great extent in the encyclopedia, or Coleman Hawkins, Ben Webster, Jack Teagarden, Oscar Peterson, Teddy Wilson, Roy Eldridge.
A number of the great swing musicians met in Lionel Hampton’s small groups. In 1937 the vibraphonist began recording under his own name and the conditions were extremely favorable. He had signed a contract with the Victor label which enabled him to get any musician he liked into the recording studio. Consequently he recorded with the elite of jazz musicians, producing swinging gems. Similarly thrilling are the recordings of jam sessions and all-star groups; the set-up often looks like a who’s-who of the greatest jazz musicians. Jazz musicians always loved jam sessions but in the past they could not be recorded because the sessions were too long for the old shellac records. Only when the long-playing record had started its triumphant advance in 1953, it was possible to record long sessions. Technical progress introduced a new quality into recorded jazz.
THE ENCYCLOPEDIA OF JAZZ PART 3 - BIG BANDS
The giants of the Swing Big Band era, when Swing dance was a worldwide craze with Fletcher Henderson, Benny Goodman, Duke Ellington, Count Basie, Tommy Dorsey, Jimmie Lunceford, Charlie Barnet, Artie Shaw, Woody Herman, Stan Kenton, Gene Krupa, Lionel Hampton, Harry James, Cab Calloway, Glenn Miller, Chick Webb, Louis Armstrong, etc. 100-CD-Box with original recordings. ADD. The glorious time of the big bands which was followed by the dance hall craze in the swing era started in the 1920s. Bandleader Fletcher Henderson and his arranger Don Redman developed the style of the big bands. They organized the band completely different from the way it was done in classical jazz. Now they had a brass section with more trumpets and trombones, a reed section with several saxophones and a strong rhythm section. The result was a new powerful sound, based on sophisticated arrangements fired by hot solos. The Henderson band that employed soloist like Coleman Hawkins, Ben Webster and Chu Berry on tenor and trumpeters Rex Stewart, Roy Eldridge and Henry “Red” Allen was the role model for many following big bands. Several big bands such as the orchestra of Bennie Moten, which was the nucleus of the Count Basie Band played an important part in the twenties. Fletcher Henderson led a band with outstanding soloists like Rex Stewart, Benny Carter and Coleman Hawkins. Duke Ellington also had an impressive ensemble, including trumpeter Bubber Miley, who already experimented with his special growl technique.
Benny Goodman, the King of Swing of the 1930s, learned a lot from Henderson. He copied his big band concept and played his arrangements. Henderson wrote some of his best pieces for Goodman. His “Let’s Dance” became the motto of an entire country – in fact, of the whole world. The encyclopedia includes many recordings of Goodman’s big band in the 1930s and 1940s. For many connoisseurs however Count Basie’s orchestra was the ideal of a big band, fiercely swinging and relaxed. In 1932 Basie formed his first band with members of the Bennie Moten orchestra and he successfully led big bands for many years. He worked with soloists such as the trumpeters Harry “Sweets” Edison and Buck Clayton, saxophonists Lester Young and Herschel Evans and the famous All American Rhythm Section with Walter Page on Bass, Freddie Green on guitar and the drummer Jo Jones. In 1939 the Basie band performed at the Carnegie Hall in New York City, playing two concerts “From Spiritual to Swing” which were organized by the promoter and Basie fan John Hammond.
THE ENCYCLOPEDIA OF JAZZ PART 4 - BEBOP STORY
A musical revolution that radically changed the road of Jazz with Charlie Parker, Charlie Christian, Dizzy Gillespie, Dexter Gordon, Fats Navarro, Sonny Stitt, Miles Davis, Bud Powell, Kenny Dorham, Wardell Gray, Kenny Clarke, J.J. Johnson, Kai Winding, Serge Chaloff, Gerry Mulligan, Stan Getz, John Lewis, among others. A 100-CD-Box with original recordings.
Bebop marked the beginning of Modern Jazz – a musical and technical revolution and the first example of Jazz as an “art” form. New harmonic structures coupled with improvising at a fast tempo together with “hip” outfits like big, thick-rimmed glasses, “Zoot suits” and “goatee” beards – those were bebop’s trademarks.
Bebop was developed at the Harlem Club Minton’s Playhouse. Black musicians met there to jam after they had finished their routine in a band. Tired of playing swing standards, they were looking for new possibilities to express themselves in their music. Dizzy Gillespie and Charlie Parker were the key figures, attracting other musicians. Pianist Thelonious Monk and drummer Kenny Clarke were there as a rule because they were members of the house band. Among the musicians who helped to lift jazz to new heights was pianist Bud Powell, who appeared at Minton’s as a very young man, when he was just seventeen, for the first time. His playing reminded admirers of the flowing melodies on Charlie Parker’s alto. The new music was mainly disseminated via concerts and found a rapidly growing crowd of fans. When bebop conquered Europe, the big music companies finally saw their chance.
It is quite natural that the works of Dizzy Gillespie and Charlie Parker dominate the recordings of the bebop era. Both can be heard on many titles under their own names and as participants in live concerts. They often performed with ‘Jazz At The Philharmonic’, organized by Norman Granz, and played in the company of jazz greats such as Lester Young, Oscar Peterson, Coleman Hawkins and Roy Eldridge. The impresario Gene Norman also organized bebop concerts and produced the recordings under his label Just Jazz. Many concerts were recorded on the American West Coast, featuring musicians like Chet Baker, Gerry Mulligan and Wardell Gray.
First there were only black musicians experimenting in Minton’s Playhouse, but in the course of time white musicians arrived, listened and picked up new harmonies and tones. Musicians like Stan Getz, Zoot Sims, Al Cohn and Kai Winding became protagonists of a white bebop, and many recordings demonstrate that all the outstanding musicians speak the same language.
THE ENCYCLOPEDIA OF JAZZ PART 5 - MODERN JAZZ
Cool Jazz, West Coast, Hard Bop & Modern Mainstream with Miles Davis, Dave Brubeck, Chet Baker, Stan Getz, Gerry Mulligan, Clifford Brown, Art Blakey, John Coltrane, Horace Silver, Sonny Rollins, Lee Morgan, Cannonball & Nat Adderley, Thelonious Monk, Dexter Gordon, Modern Jazz Quartet, Oscar Peterson, Erroll Garner, Jimmy Smith, among others. A 100-CD-Box with original recordings.
In the 1950s Jazz spread throughout the world. With the advent of the long playing record, jazz improvisation was freed from the limitations of the old 78s’ three minute playing time, providing the space for passionate and lengthy artistic statements. Everything was different after the dramatic evolution initiated by bebop. It seemed as if a valve had been opened, permitting various currents to flow, trends in music which all sound more modern, more sophisticated or intellectual. Now you have cool jazz, West Coast jazz, Hard-bop and all those variations of jazz which are modern but have little resemblance to the experiments in Minton’s Playhouse –mainstream is the common term.
Hard-bop is the logical resumption of bebop, but down to earth with roots into the blues. Many Hard-bop musicians, especially pianist Horace Silver, show a strong influence of gospel and spiritual. Silver and alto saxophonist Julian “Cannonball” Adderley are the most important protagonists of a Hard-bop variation called soul jazz that found a large following. The term “funky”, in the past a dirty word, was also used to characterize this exciting type of music. Next to the drummer Art Blakey, trumpeter Clifford Brown and tenor saxophonist Sonny Rollins belong to the founding fathers and most important protagonists of modern bop. Sonny Rollins, in the words of Miles Davis the greatest tenor saxophonist of all times, was first influenced by the mighty sound of Coleman Hawkins, but developed his own technique of improvising. Again and again he surprised his fans with fresh ideas after he had withdrawn from the public light. The saxophone colossus played with many giants of jazz, among others John Coltrane.