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Celal Gürcüoglu wrote:..
Bugunku yayinin bu yaz gelecek Amerikali turist sayisini bayagi bir artiracagini dusunuyorum. Cok guzel olmus. Bizim yapamadigimizi Amerikalilar yapmis. Hep derdim ordayken. Super Bowl arasi kiyacaksin paraya, vereceksin Turkiye reklamini. Milyonlar seyredecek. Ama reklami oyle bir hazirlayacaksin ki ertesi gun herkes en iyi reklam oydu diye konusacak. Ama nerde....

Turkish Delight

After so many decades of trying to become Western, Istanbul glories in the rediscovery of a very modern identity. European or not, it is one of the coolest cities in the world.


By Owen Matthews and Rana Foroohar
Newsweek International

Aug. 29, 2005 issue - Spend a summer night strolling down Istanbul's Istiklal Caddesi, the pedestrian thoroughfare in the city's old Christian quarter of Beyoglu, and you'll hear something surprising. Amid the crowds of nocturnal revelers, a young Uzbek-looking girl plays haunting songs from Central Asia on an ancient Turkic flute called a saz. Nearby, bluesy Greek rembetiko blares from a CD store. Downhill toward the slums of Tarlabasi you hear the wild Balkan rhythms of a Gypsy wedding, while at 360, an ultratrendy rooftop restaurant, the sound is Sufi electronica—cutting-edge beats laced with dervish ritual. And then there are the clubs—Mojo, say, or Babylon—where the young and beautiful rise spontaneously from their tables to link arms and perform a complicated Black Sea line dance, the horon. The wonder is that each and every one of these styles is absolutely native to the city, which for much of its history was the capital of half the known world.


The sounds of today's Istanbul convey something important. They're evidence of a cultural revival that's helping the city reclaim its heritage as a world-class crossroads. After decades of provincialism, decay and economic depression—not to mention the dreary nationalism mandated by a series of governments dominated by the military—Istanbul is re-emerging as one of Europe's great metropolises. "Istanbul is experiencing a rebirth of identity," says Fatih Akin, director of this summer's award-winning film "The Sound of Istanbul," an odyssey through the city's rich musical traditions. Akin grew up in Germany but during the past decade has rediscovered his Turkish roots. "There's such richness," he says. "So many people have crossed Istanbul and left their culture here."

Signs of renewed self-confidence are everywhere. The city is still thickly atmospheric, with bazaars, Byzantine churches and Ottoman mansions pretty much everywhere. But that faded grandeur has recently been leavened with new energy. Stock markets are surging. Young, Western-educated Turks are returning home to start businesses. Foreigners are snapping up choice real estate. Turkish painters, writers, musicians, fashion designers and filmmakers are increasingly in the international spotlight. Two major new private museums devoted to Turkish art, the Istanbul Modern and the Pera Museum, have opened in the past year alone. Private galleries like GalerIst and Platform are showcasing, and fostering, new artists from Turkey and around the region.

The city's renaissance is part and parcel of Turkey's embrace of Europe. It's no accident that the Modern's opening was pushed up last December to coincide with the European Union's decision to begin accession talks with Ankara. Turkey's drive to "join Europe" undergirds the economic reforms that have given both Turks and foreigners the confidence to invest and buoyed the country's prospects. Inflation is in the single digits for the first time in 30 years, unemployment is down and GDP growth is more than 9 percent. Reforms pushed by the EU—from its insistence that the military step back from politics to human-rights and free-speech liberalizations—have reshaped Turkey's political and social landscape. At bottom, Istanbul's new look would not have been not be possible had the country's government not been so determined to prove its Western credentials.

In every area of life, a new generation of young Turks is reaching outward. This year's Art Biennale will draw artists from Bosnia, Iran, Egypt, Greece and Lebanon—a most uncommon mix—while the Web Biennale will feature work by Armenians, Ukrainians, Serbs, Macedonians and Romanians. "Istanbul these days has as much dynamism as New York," says Genco Gulan, director of the Istanbul Contemporary Art Museum. If anything, he enthuses, "Istanbul is more alive. There's more interest here in doing something new."

That cultural vibrancy has come hand in hand with a physical renaissance, the likes of which Istanbul hasn't seen in a century. Begin with Beyoglu, an area of grand 19th-century apartment buildings reminiscent of Budapest or Vienna that was largely abandoned by its Greek and Jewish inhabitants in the 1950s and became a Kurdish and Gypsy slum. "Fifteen years ago, you'd be afraid to go there," says Gulen Guler, a film producer who lives in the neighborhood. Fusion restaurants, organic grocers and designer candle shops now abound, along with the city's trendiest shops, galleries, design studios and clubs—many of them standouts of contemporary design. Beyoglu is also home to a growing colony of young foreigners buying up cheap apartments. "This place is attracting people away from very cool scenes elsewhere, like Berlin," says Andrew Foxall, one of the owners of 20 Million, a design and photography studio in Cukurcuma, the artiest of Beyoglu's enclaves.

The rise of Beyoglu is a good metaphor —for Istanbul as a whole. At its best, it showcases all that's original and vibrant in the city. At its worst, it does just the opposite—testifying to Turkey's cultural insecurities. Yes, the melting pot that is the Istiklal Caddesi is genuine enough. But what to make of the Fransiz Sokak, a whole street filled with faux French cafes and restaurants, complete with baguettes and piped accordion music? Contrast that with the restaurant Dilara's Abracadabra, whose owner, Dilara Erbay, conjures up a truly innovative new food culture based on traditional seasonal rhythms. "This is Anatolia, a very spiritual and holy place," says Erbay. "Anatolian food is alive, all the old stories are there. We prepare special foods when someone dies, when they are born, when guests come. You can tell all your life in food." Erbay's next big thing is Sufi cuisine, simple and pure food eaten from a communal bowl "to symbolize love and oneness," rooted in Turkey's ancient culture of Sufi Islamic mysticism.

It's a constant tussle, this East-West divide. For years being cool and innovative has long meant, simply, being Western. "Kemal Ataturk wanted to change Turkey into a Western country; everything from our own culture was forbidden," recalls Fatih Akin. Now, he adds, more and more Turkish artists are rediscovering their own voices, grounded in their own traditions rather than borrowed ones. Listen, for instance, to the weird, haunting melodies of the dervish rituals that shape the mesmerizing electronic music of Mercan Dede, who mixes Sufi classical music played on the ney (a kind of flute) with computer beats. Look at the upper floors of the Pera Museum, dedicated to the work of young Turkish artists. (One female painter crowns her angry self-portrait with a Byzantine-style gold halo; a digital photomontage of horses and soldiers turns what might have been a battle of classical Greece and Persia into something resembling a videogame; in one photo of a large mosque, minarets tilt at 45 degrees, evoking missiles.) Or try on some of designer Gonul Paksoy's sumptuous Ottoman-inspired gowns made of antique silks and rich embroidery. These are all signs of a cultural voice growing from within, and no longer imported from abroad.

Not all the new art is a celebration. Filmmaker Kutlug Ataman, shortlisted for last year's prestigious British Turner Prize, cuts close to Turkey's sociocultural bone. His latest video installation, "Kuba," constructs a communal portrait of life in an Istanbul shantytown, voice by voice. The subjects range from criminals, drug addicts and teenage delinquents to religious radicals and the poor—an uncomfortably real slice of daily life at the margins.

Bold artistic voices like Ataman's are bound to collide with Turkey's many taboos—nationalist versus European, modern versus traditional, secular versus religious. While bright young things drink and flirt in expensive Beyoglu restaurants, the more numerous poor look on in bewilderment and not a little disapproval. Outside one trendy record shop specializing in reggae and rap, graffiti on the wall reads RAP NO—MUSLIM YES. And just a hundred meters from the lively bars of Istiklal, an armored personnel carrier stands permanently parked outside the police headquarters on Tarlabasi Boulevard, ready for use during the sporadic disorders among Tarlabasi's largely Kurdish minority.

Istanbul and its artists are testing new political limits as well. Aynur, a Kurdish singer featured in "The Sound of Istanbul," recalls that when she started performing 10 years ago, police would pull the plug on her. With new laws (another nod to the EU) authorizing broadcasts in Kurdish, she can now sing wherever and whenever she wants. But, she says, "I only wish these changes were happening because we really believed in them, not because we're becoming members of the EU." Even novelist Orhan Pamuk, whose books have been a huge success in Turkey and the West, was pilloried by nationalists earlier this year when he dared to ask what had happened to the Armenians of the Ottoman Empire in 1915, when hundreds of thousands were killed.

Still, taken together, the changes have been dramatic. For decades now, Greeks and Turks have lived in enmity. Yet the Pozitif photo gallery in Galata is currently hosting a show of stark images from Imroz, a Turkish Aegean island with a tiny, and dying, Greek population. It's a sad exhibit, says photographer Murat Yaykin, but "it's important to tell the story" of how Greeks and Turks not so long ago lived side by side in harmony. A huge crowd also turned out last month when Greek singer Aliki Kayaloglou performed poetry by Greek poets Elytis, Kavafis and Sappho, as well as Turkish poet Nazim Hikmet, set to music by contemporary Greek composer Manos Hadjidakis. Greek contemporary pop sells well in the record shops on Istiklal.

Perhaps most encouraging is the fact that, as Istanbul goes, so goes much of the rest of the country. The megalopolis accounts for roughly 45 percent of national industry, 55 percent of GDP and 60 percent of the country's exports. A whole generation of young Turks, educated abroad, is now being drawn back to their homeland, stoking the city's dynamism. Memduh Karakullukcu, 35, schooled at MIT, Columbia and the London School of Economics, worked as an investment banker and consultant in Europe and the United States before returning to head Istanbul Technical University's prestigious technology incubator. "For the first time, living in Istanbul doesn't mean that I'm left out of the major social and financial networks," he says. "I can be part of all that from here." These new repatriates bring a worldliness and an openness their parents' generation lacks. "There's a cultural shift. Both Turks and foreigners are excited about the possibilities of the city, which has been a well-kept secret for so long," says Oya Eczacibasi, chairwoman of the Istanbul Modern.

Europe may yet balk at admitting Turkey to its Union. Yet the world won't end if it does. All signs suggest that Istanbul will continue to re-create itself, perhaps even more energetically. Remember the sounds of Istanbul's streets—European and Turkish and Balkan and Middle Eastern, all coming together in a strange but beautiful harmony.

Mehmet Gurdal Cetin wrote:Time Top 100'u aciklamis.

Bir Turk var ilac icin.

Doktor bu ne ?

http://www.time.com/time/specials/2007/ ... 29,00.html

Komple liste icin;

http://www.time.com/time/specials/2007/ ... 48,00.html

Mehmet Gurdal Cetin wrote:06.05.2008 Sali ve 07.05.2008 Carsamba Munih'teyim.

Anlatabilecegim Munih maceralarim icin lokal infolari bekliyorum.

Nerde soguk bir seyler icilir?
Nerde yemek yenir (lokal yemekten bahsediyoruz doner kebap acili adana degil) ?
Nerede uzerine hafif bir seyler giyilip gelinir ?

Cevap yazmayan fenerli olsun

Mehmet Gurdal Cetin wrote:Tatil zamani geldi.Yukarida bir yerde
Bir sonraki tatil yerimiz belli.

Karsinizda bir yeryuzu cenneti, SANTORINI
......
Hangi seyahat acentalari bilmiyorum ama bence cogunun bir Santorini paketi vardir.

Selçuk Samli wrote:

Mehmet Gurdal Cetin wrote:06.05.2008 Sali ve 07.05.2008 Carsamba Munih'teyim.

Anlatabilecegim Munih maceralarim icin lokal infolari bekliyorum.

Nerde soguk bir seyler icilir?
Nerde yemek yenir (lokal yemekten bahsediyoruz doner kebap acili adana degil) ?
Nerede uzerine hafif bir seyler giyilip gelinir ?

Cevap yazmayan fenerli olsun

Mehmet,

Yemekten sonra birseyler icmek icin Nachtcafe veya P1'a gidebilirsin,ben 3-4 sene once bir cuma aksami gitmistim eglenceliydi.Caz dinlemek istersen "Unterfahrt" adli kulubu tavsiye ederim.

Mehmet Gurdal Cetin wrote:

Selçuk Samli wrote:

Mehmet Gurdal Cetin wrote:06.05.2008 Sali ve 07.05.2008 Carsamba Munih'teyim.

Anlatabilecegim Munih maceralarim icin lokal infolari bekliyorum.

Nerde soguk bir seyler icilir?
Nerde yemek yenir (lokal yemekten bahsediyoruz doner kebap acili adana degil) ?
Nerede uzerine hafif bir seyler giyilip gelinir ?

Cevap yazmayan fenerli olsun

Mehmet,

Yemekten sonra birseyler icmek icin Nachtcafe veya P1'a gidebilirsin,ben 3-4 sene once bir cuma aksami gitmistim eglenceliydi.Caz dinlemek istersen "Unterfahrt" adli kulubu tavsiye ederim.

Cok sagol Selcuk,
Bi bakindim nete fena bi yere benzemiyor,

http://www.unterfahrt.de/ufathis.php

Senin gecekafesini NYTIMES bayag bi ovmus, gidip gorucez.
http://travel.nytimes.com/travel/guides ... 4654660654

Yalniz sunu anlamadim,

Dress code: Upscale clubwear
Door Policy : Characters only !!

Nasi yani ? Karakter sahibi mi olmak gerekiyor ?

Hulusi Kentmen modu mu ,Erol Tas modu mu yoksa Nuri Alco mu?

100 Essential Jazz Albums
by David Remnick May 19, 2008

While finishing “Bird-Watcher,” a Profile of the jazz broadcaster and expert Phil Schaap, I thought it might be useful to compile a list of a hundred essential jazz albums, more as a guide for the uninitiated than as a source of quarrelling for the collector. First, I asked Schaap to assemble the list, but, after a couple of false starts, he balked. Such attempts, he said, have been going on for a long time, but “who remembers the lists and do they really succeed in driving people to the source?” Add to that, he said, “the dilemma of the current situation,” in which music is often bought and downloaded from dubious sources. Schaap bemoaned the loss of authoritative discographies and the “troubles” of the digital age, particularly the loss of informative aids like liner notes and booklets. In the end, he provided a few basic titles from Louis Armstrong, Count Basie, Benny Goodman, Miles Davis, and other classics and admitted to a “pyrrhic victory.”

What follows is a list compiled with the help of my New Yorker colleague Richard Brody. These hundred titles are meant to provide a broad sampling of jazz classics and wonders across the music’s century-long history. Early New Orleans jazz, swing, bebop, cool jazz, modal jazz, hard bop, free jazz, third stream, and fusion are all represented, though not equally. We have tried not to overdo it with expensive boxed sets and obscure imports; sometimes it couldn’t be helped. We have also tried to strike a balance between healthy samplings of the innovative giants (Armstrong, Ellington, Parker, Davis, Coltrane, etc.) and the greater range of talents and performances.

Since the nineteen-seventies, jazz has been branching out in so many directions that you would need to list at least another hundred recordings, by the likes of Steve Coleman, Stanley Jordan, Joe Lovano, Jacky Terrasson, John Zorn, David Murray, Avishai Cohen, Béla Fleck, Eliane Elias, Roy Hargrove, Dave Douglas, Matthew Shipp, Gonzalo Rubalcaba, Fat Kid Wednesdays, and many, many others. There is a suggestion below of the dazzling scope of contemporary jazz, but the focus is on the classic jazz that is Schaap’s specialty.



1. Fats Waller, “Handful of Keys” (Proper, 2004; tracks recorded 1922-43).



2. King Oliver, “King Oliver’s Creole Jazz Band: The Complete Set” (Challenge, 1997; tracks recorded 1923).



3. Louis Armstrong, “The Complete Hot Five and Hot Seven Recordings” (Sony, 2006; tracks recorded 1925-29).



4. Louis Armstrong, “The Complete RCA Victor Recordings” (RCA, 2001; tracks recorded 1932-33 and 1946-47).



5. Louis Armstrong, “Louis Armstrong Plays W. C. Handy” (Columbia, 1954).



6. Fletcher Henderson, “Tidal Wave” (Verve, 1994; tracks recorded 1931-1934).



7. Bessie Smith, “The Essential Bessie Smith” (Sony, 1997; tracks recorded 1923-33).



8. Bix Beiderbecke, “The Bix Beiderbecke Story” (Proper, 2003; tracks recorded 1924-30).



9. Django Reinhardt, “The Classic Early Recordings in Chronological Order” (JSP, 2000; tracks recorded 1934-39).



10. Jelly Roll Morton, “Jelly Roll Morton: 1926-1930” (JSP, 2000).

* from the issue
* cartoon bank
* e-mail this



11. Sidney Bechet, “The Sidney Bechet Story” (Proper, 2001; tracks recorded 1923-50).



12. Duke Ellington, “The OKeh Ellington” (Sony, 1991—tracks recorded 1927-31).



13. Duke Ellington, “Golden Greats” (Disky, 2002; tracks recorded 1927-48).



14. Duke Ellington, “Never No Lament: The Blanton-Webster Band” (RCA, 2003; tracks recorded 1940-42).



15. Duke Ellington, “Ellington at Newport 1956” (Sony, 1999).



16. Duke Ellington, “Money Jungle” (Blue Note Records, 1962).



17. Coleman Hawkins, “The Essential Sides Remastered, 1929-39” (JSP, 2006).



18. Coleman Hawkins, “The Bebop Years” (Proper, 2001; tracks recorded 1939-49).



19. Billie Holiday, “Lady Day: The Master Takes and Singles” (Sony, 2007; tracks recorded 1933-44).



20. Teddy Wilson, “The Noble Art of Teddy Wilson” (ASV Living Era, 2002; tracks recorded 1933-46).



21. Lester Young, “The Lester Young/Count Basie Sessions 1936-40” (Mosaic, 2008; available direct through Mosaic).



22. Lester Young, “Kansas City Swing” (Definitive, 2004; tracks recorded 1938-44).



23. Count Basie, “The Complete Decca Recordings” (Verve, 1992; tracks recorded 1937-39).



24. Count Basie, “The Complete Atomic Basie” (Blue Note, 1994; tracks recorded 1958).



25. Benny Goodman, “At Carnegie Hall—1938—Complete” (Columbia, 1999).



26. John Kirby Sextet, “Night Whispers: 1938-46” (Jazz Legends, 2005).



27. Chick Webb, “Stomping at the Savoy” (Proper, 2006; tracks recorded 1931-39).



28. Benny Carter, “3, 4, 5: The Verve Small Group Sessions” (Polygram, 1991; tracks recorded 1954).



29. Charlie Christian, “The Genius of the Electric Guitar” (Definitive, 2005; tracks recorded 1939-41).



30. James P. Johnson, “The Original James P. Johnson: 1942-1945 Piano Solos” (Smithsonian Folkways, 1996).



31. The Nat King Cole Trio, “The Best of the Nat King Cole Trio: The Vocal Classsics, Vol. 1, 1942-1946” (Blue Note, 1995).



32. Charlie Parker, “The Complete Savoy and Dial Sessions” (Uptown Jazz, 2005; tracks recorded 1944-48).



33. Charlie Parker, “Bird: The Complete Charlie Parker on Verve” (Polygram, 1988; tracks recorded 1946-54).



34. Charlie Parker, “Best of the Complete Live Performances on Savoy” (Savoy, 2002; tracks recorded 1948-49).



35. Dizzy Gillespie and Charlie Parker, “Town Hall, New York City, June 22, 1945” (Uptown Jazz, 2005).



36. Dizzy Gillespie, “The Complete RCA Victor Recordings, 1947-49” (RCA, 1995).



37. Thelonious Monk, “Genius of Modern Music, Vol. 1” (Blue Note, 2001; tracks recorded 1947).



38. Thelonious Monk, “Live at the It Club, 1964” (Sony, 1998).



39. Thelonious Monk, “Thelonious Monk with John Coltrane: The Complete 1957 Riverside Recordings” (Riverside, 2006).



40. Lennie Tristano and Warne Marsh, “Intuition” (Blue Note, 1996; tracks recorded 1949 and 1956).



41. Miles Davis, “The Complete Birth of the Cool” (Blue Note, 1998; tracks recorded 1948-50).



42. Miles Davis, “Bags’ Groove” (Prestige, 1954).



43. Miles Davis, “Kind of Blue” (Sony, 1959).



44. Miles Davis, “Highlights from the Plugged Nickel” (Sony, 1995; tracks recorded 1965).



45. Miles Davis, “Bitches Brew” (Columbia, 1969).



46. Bud Powell, “The Amazing Bud Powell, Vol. 1” (Blue Note, 2001; tracks recorded 1949-1951), Vol. 2 (Blue Note, 2001; tracks recorded 1953).



47. Gerry Mulligan, “The Original Quartet with Chet Baker” (Blue Note, 1998; tracks recorded 1952-53).



48. Modern Jazz Quartet, “Django” (Prestige, 1953).



49. Art Tatum, “The Best of the Pablo Solo Masterpieces” (Pablo, 2003; tracks recorded 1953-56).



50. Clifford Brown and Max Roach, “Clifford Brown & Max Roach” (EmArcy, 1954).



51. Sarah Vaughan, “Sarah Vaughan with Clifford Brown” (EmArcy, 1954).



52. Charles Mingus, “Mingus at the Bohemia (Debut, 1955).



53. Charles Mingus, “Mingus Ah Um” (Columbia, 1959).



54. Charles Mingus Sextet, “Cornell 1964” (Blue Note, 2007).



55. Ella Fitzgerald, “Ella Fitzgerald Sings the Cole Porter Songbook” (Verve, 1956).



56. Sonny Rollins, “Saxophone Colossus” (Prestige, 1956).



57. Sonny Rollins, “Night at the Village Vanguard” (Blue Note, 1957).



58. Sonny Rollins and Coleman Hawkins, “Sonny Meets Hawk!” (RCA, 1963).



59. Tito Puente, “King of Kings: The Very Best of Tito Puente” (RCA, 2002; tracks recorded 1956-60).



60. Sun Ra, “Greatest Hits—Easy Listening for Intergalactic Travel” (Evidence, 2000; tracks recorded 1956-73).



61. Abbey Lincoln, “That’s Him” (Riverside, 1957).



62. Art Blakey and the Jazz Messengers, “Moanin’” (Blue Note, 1958).



63. Ahmad Jamal Trio, “Cross Country Tour: 1958-1961” (Verve, 1998).



64. The Dave Brubeck Quartet, “Time Out” (Sony, 1959).



65. Jimmy Witherspoon, “The ’Spoon Concerts” (Fantasy, 1989; tracks recorded 1959).



66. Ornette Coleman, “Beauty Is a Rare Thing: The Complete Atlantic Recordings” (Atlantic, 1993; tracks recorded 1959-61).



67. Ornette Coleman, “Dancing in Your Head” (Horizon, 1973).



68. Freddie Hubbard, “Open Sesame” (Blue Note, 1960).



69. Jimmy Smith, “Back at the Chicken Shack” (Blue Note, 2007; tracks recorded in 1960).



70. Dinah Washington, “First Issue: The Dinah Washington Story” (Polygram, 1993; tracks recorded 1943-61).



71. John Coltrane, “My Favorite Things” (Atlantic, 1960).



72. John Coltrane, “The Complete 1961 Village Vanguard Recordings” (GRP, 1997; tracks recorded 1961).



73. John Coltrane, “A Love Supreme” (Impulse!, 1964).



74. John Coltrane, “Ascension” (Impulse!, 1965).



75. Eric Dolphy, “Out There” (New Jazz, 1960).



76. Eric Dolphy, “Out to Lunch!” (Blue Note, 1964).



77. Bill Evans, “The Complete Village Vanguard Recordings, 1961” (Riverside, 2005).



78. Jackie McLean, “A Fickle Sonance” (Blue Note, 1961).



79. Stan Getz and João Gilberto, “Getz/Gilberto” (Verve, 1963).



80. Dexter Gordon, “Our Man in Paris” (Blue Note, 1963).



81. Andrew Hill, “Smokestack” (Blue Note, 1963).



82. Lee Morgan, “The Sidewinder” (Blue Note, 1963).



83. Albert Ayler, “Spiritual Unity” (ESP, 1964).



84. Archie Shepp, “Four for Trane” (Impulse!, 1964).



85. Horace Silver, “Song for My Father” (Blue Note, 1964).



86. Wes Montgomery, “Smokin’ at the Half Note” (Verve, 2005; tracks recorded 1965).



87. Cecil Taylor, “Conquistador!” (Blue Note, 1966).



88. Betty Carter, “Betty Carter’s Finest Hour” (Verve, 2003; tracks recorded 1958-92).



89. Frank Sinatra, “Sinatra at the Sands with Count Basie & the Orchestra” (Reprise, 1966).



90. Frank Sinatra, “The Capitol Years” (Capitol, 1990; tracks recorded 1953-62).



91. Nina Simone, “Sugar in My Bowl: The Very Best of Nina Simone, 1967-1972” (RCA, 1998).



92. Pharoah Sanders, “Karma” (Impulse!, 1969).



93. Chick Corea, “Return to Forever” (ECM, 1972).



94. Keith Jarrett, “The Köln Concert, 1975” (ECM, 1999).



95. World Saxophone Quartet, “World Saxophone Quartet Plays Duke Ellington” (Nonesuch, 1986).



96. Charlie Haden and Hank Jones, “Steal Away” (Polygram, 1995).



97. Joshua Redman Quartet, “Spirit of the Moment: Live at the Village Vanguard” (Warner Bros., 1995).



98. Cassandra Wilson, “Traveling Miles” (Blue Note, 1999).



99. Wynton Marsalis Septet, “Live at the Village Vanguard” (Sony, 1999).



100. The Bill Charlap Trio, “Live at the Village Vanguard” (Blue Note, 2007).