James Spaulding

Free for All

Art Blakey · 1964

Hub-Tones

Freddie Hubbard · 1962

Reggie WorkmanReggie Workmanレジー・ワークマン was one of John ColtraneJohn Coltraneジョン・コルトレーン's bassists in the early 1961 sessions before Jimmy GarrisonJimmy Garrisonジミー・ギャリソン became the permanent member. He continued recording with Wayne ShorterWayne Shorterウェイン・ショーター and Art BlakeyArt Blakeyアート・ブレイキー, remaining at the forefront of the avant-garde. On Hub-TonesHub-TonesFreddie Hubbard · 1962 he appeared alongside a young Herbie HancockHerbie Hancockハービー・ハンコック.

Clifford Brown and Max Roach

Clifford Brown & Max Roach Quintet · 1954

Study in Brown

Clifford Brown · 1955

Drums Unlimited

Max Roach · 1966

Saxophone Colossus

Sonny Rollins · 1956

The assumption that drums exist only to keep time behind other instruments is upended on Max Roach's 1966 album Drums Unlimited, which pairs full quintet tracks with pieces built entirely from unaccompanied drum solos — an unusual move for a mainstream jazz label at the time.

Jaco Pastorius

Jaco Pastorius · 1976

Deciphering the Message

Makaya McCraven · 2021

Word of Mouth

Jaco Pastorius · 1981

Tender Moments

McCoy Tyner · 1968

Howard Johnson, jazz's foremost tuba specialist, is credited on Jaco Pastorius's self-titled 1976 debut — the album that redefined what the electric bass could do. He plays a marching-band instrument that has almost no other place in fusion.

Deciphering the Message

Makaya McCraven · 2021

Contours

Sam Rivers · 1967

Speak No Evil

Wayne Shorter · 1966

Straight Life

Freddie Hubbard · 1970

The bass intro that defines Freddie Hubbard's Red Clay (1970) wasn't Hubbard's — bassist Ron Carter invented it on the spot because Freddie never brought the part. "Luckily, the right note hit at the right time," Carter said. The hook that became the song's signature was an improvisation forced by a missing chart.

— Statement stmt-ron-carter-on-freddie-hubbard