How to Shop ABC

A. Reading the label

Besides the named performer/musician/singer and the song titles, there are at least four things to look for on a CD label, some of which are tips on the music, and others on the sound-quality of the recording:

1-The year of the recording. Do not be fooled by the copyright date (the date next to the encircled "C"). That date tells when the label put the music together for release on that CD, not necessarily the recording date or even the re-mastering date. Look for the "P" in a circle or a specified "recorded on" date. If that date is not listed on the back cover, then consider that there might be a reason they hid it: because it is just another old and crappy recording that is available on twenty or more other CDs.

As for what to do with the dates, stereo was invented in the 30s, Hi-Fi in the 40s, but the recording industry really did not produce realistic-sounding recordings with adequate fidelity until the 50s and 60s when microphone technology and recording techniques caught up. Although many of the pre-hi-fi recordings contain phenomenal swing music as it might never be performed again, I tend to prefer looking for solid sound quality recordings for several obvious and some less-obvious reasons (discussed below).

Studio recordings from major labels in the 50s and early 60s are almost always recorded with great sound quality. As with many things, the late 60s and 70s ruined things, with essentially tinny, ugly, lifeless recordings produced under the guise of providing a broader, more expansive sound. Sound production improved again in the early 80s, but it is surprising how many recordings from the 50s and 60s still sound better, richer, and fuller. There are exceptions, but it generally is the sad truth.

Sound production also affected the performance of the music. For instance, in the early years, the bass player needed to hit the beat hard in order to be heard by the recording mic, the audience, or even the other musicians, which often limited the richness and complexity of the rhythm. With better amplification and better fidelity, the bass player could relax and provide a more subtle, complex, sustained and grooving beat. Instrument solos also could dampen to previously-inaudible levels of subtlety, as well. Although artistry obviously had something to do with it, as well, this purely-technological difference no doubt influenced the difference between Louis Armstrong and Miles Davis, perhaps the two greatest trumpet players ever despite their almost diametrically-opposed styles. Miles' sound would have been ignored in the 20s and 30s because nobody would have heard it... literally.

2-The back-up band. Many people search for music by concentrating on the singers: such as Carmen McRae, Jimmy Witherspoon, or Frank Sinatra. Some great singers were great musicians (Louis Armstrong for one), but most are just singers. Just as the quality of a football team depends more on the unsung heroes in the offensive or defensive lines than upon the name-brand superstars, the quality of a band or a song depends more upon the back-up band than the frontline singer. Even great musicians or composers are limited by the band that performs: great songs can be ruined and mediocre songs can become special depending on the performance.

Sometimes, DJs turn this exercise into an academic trivia contest, with fragile egos riding on being able to know names and dates instead of appreciating what those names and dates really mean. However, because jazz and blues musicians routinely tend to interchange and play amongst each other, paying attention to the back-up band is the best way to branch out and find new music.

The best and simplest way to learn about back-up bands is, when you find a CD you like, look at who backs the named musician/singer up and then shop for the same or a similar line-up: same drummer, same bass player, etc. For example, I learned long ago that my favorite Basie music (especially for dancing) came when Sonny Payne played drums and Ed Jones played bass (the mid-50s to mid 60s), which is contrary to the prevailing music-critic mantra that the Jo Jones (drums) and Walter Page (bass) backed Basie bands (inception to the mid-40s) were the best. (Jo and Walter were great and were the most innovative, but the later Basie band benefited from that innovation and added to it. Sonny and Eddie also helped Basie develop a more subtle, audible groove due to better recording techniques when they played with Basie.) As I started to collect Basie's recordings, I first looked for Basie recordings with Sonny Payne and Ed Jones in the band.

Many back-up musicians also blossomed into less-famous (or sometimes even more famous) front-line musicians in their own right: Lester Young started with Basie; Charlie Parker started with Slim & Slam; John Coltrane started with Miles Davis. ("Johnny, you don't have to play ev-ery-thing.") Many others backed up other headliners. I decided to buy Eddie Vinson's best album--Cleanhead's Back in Town--by noticing that Ed Jones played Bass and Freedie Green played rhythm guitar, both of whom played for Count Basie. I thus learned about Eddie Vinson, and bought other material by him. In that way, paying attention to the backup musicians can help you find reliably good material.

3-The number of songs. Quantity does not entail quality, but it can tip you off to a cheap-o disc. Cheap, junk record labels are infamous for selling ten-song compilations that fill up only a third of the capacity of a CD. Some even come in 2-disc sets, with ten songs per disc that could all fit onto one CD, with plenty of room for more. Usually, such CDs are not worth the money unless they contain truly unique recordings--like some Laserlight CDs of Count Basie's live music--or are sold at a true bargain price (under $5). In a sense, they are selling plastic more than music. Chances are that, if they skimp on content, they will also probably skimp on recording quality, too.

On the other end of the spectrum, there are also some labels (mostly European like "Charley," "Delta," "hep," and "Madacy") that offer too many songs for the money: say, 25 songs for $5-$10. Sounds too good to be true, and it is. The recording quality on these discs often sounds like some teenager digitally recorded it with a cheap microphone stuck inside a tin can put up against a $25 speaker. Some of these discs offer rare, otherwise-unreleased, old recordings that can provide more insight into a musician's development, but understand that they are often kept "in the vault" for a good reason. For that reason, one rough rule of thumb to follow is that CDs with roughly between 11-15 songs tend to be the industry standard for top-quality releases. Any less, and they are just selling plastic; any more and you need to wonder why they are giving so much away.

That rule of thumb has at least one exception: CDs with alternate takes, like the impeccably done, paperboard-bound Verve re-issues. LP record albums "in the day" typically were limited to 45 minutes of good sound quality recording (and often did not go above 35 to 40 minutes), whereas CDs can record a full 74 to 80 minutes. Top-quality CD re-releases usually contain alternative takes, bonus tracks, or other bonus materials (even sometimes an entire second LP-issued record) in this extra capacity to encourage people who already own the record (for example, older Basie fans, who already own the LPs but are still the most likely to purchase new Basie CDs) to buy the CD, as well. But too often they just leave the rest of the CD blank. (Again, selling plastic, not music).

Having alternate takes on your re-release CD can reduce the redundancy of listening to the exact same recording of a favorite song. It is a shame when a record label offers 40 minutes of music on a CD when alternate takes or otherwise-unreleased material from the same recording dates still exist and could just as easily be placed on the CD as not. Finally, finding bonus tracks on a CD also provides some loose assurance that the producer was not just a lazy schmo, and probably paid concomitant attention to the re-mastering process.

4-The sampling rate. Without going into complex digital definitions, just understand that most CDs are sampled at 16-bit; assume so if not otherwise stated. 18-bit, 20-bit and 24-bit (or higher) sampling rates provide better clarity and are usually well worth the few extra bucks. Usually re-released materials at these higher sampling rates are also more carefully re-mastered into digital form, preserving or even enhancing the sound quality of the original analog recordings. Finally, music producers usually will not take the care to re-master old, monaural, tinny recordings at higher sampling rates, so looking for recordings with higher sampling rates provides some assurance that it is a good, hi-fi recording.

B. Read Up

Read up on Jazz History. Following the names you always hear such as Count Basie, Duke Ellington, Oscar Peterson, Benny Goodman, Artie Shaw, Ella Fitzgerald, and the like provides some guidance, but it is not enough to merely know names. Not only is Benny Goodman's music little to not at all like Duke Ellington's music, but Ellington and Goodman both recorded vastly different music throughout their careers. Understanding that Ellington tended toward composing and recording Symphonic Jazz Suites in his later years can help you avoid (or find, if you like) music that is not at all danceable. Reading about music is not a substitute for listening to it, but it can provide a depth of appreciation that otherwise would not be there.

C. Listen before you Buy

Listening stations are crucial; so much so that I almost refuse to buy from stores that do not allow you to listen to CDs before you buy them, especially used CDs that are already open. Stores that allow you to listen to CDs before buying are absolutely worth patronizing. I do not mind paying a few extra dollars for the assurance that I am getting a good blend of music. It is an obvious point, but one worth codifying briefly.

Click here for Paul Overton's similar list of rather helpful pointers.

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