#29. Muddy Waters at Newport - Muddy Waters (1960)

Muddy Waters had spent most of the 1950s on the R&B charts. After seeing his sales begin to dip by the end of the decade, Chess Records decided to market its greatest talent to the mostly white mainstream audience, and brought a recorder to his performance at the 1960 Newport Jazz Festival.

Neither Muddy nor his audience knew what to expect, but he had the kids literally dancing in the aisles by the set-closer, "I've Got My Mojo Working." This gamble of introducing the mainstream to live blues music paid off, as this album has consistently sold well for almost 50 years. 

One of my favorite blues songs ever is "(I'm Your) Hoochie Coochie Man" and this version is outstanding. Before I heard this album, I think the BB King version was my favorite, but now Muddy Waters gets that honor. Did you know that Steven Seagal (yes, THAT Steven Seagal) even recorded a version in 2006 with his band, Thunderbox (groan). 

You definitely need to own this if you want to have any kind of respectable blues collection. And if you own anything by Thunderbox, I give up.

Favorite Tracks: "(I'm Your) Hoochie Coochie Man," "Tiger in Your Tank" and "I've Got My Mojo Working"

#28. Back at the Chicken Shack - Jimmy Smith (1960)

This album was OK. It wasn't bad, but I don't think I'll be putting it in constant rotation anytime soon.

Jimmy Smith took a relatively un-hip instrument (the Hammond organ) and created a new genre of music (soul-jazz). I don't really have much to say about this album. I can see why it's on the list, I guess, considering that an entire genre of music was born out of it. I did enjoy the moodiness of the tenor saxophone performed here by Stanley Turrentine.

Favorite Tracks: "Back at the Chicken Shack" and "When I Grow Too Old to Dream"

#27. A Date with the Everly Brothers - The Everly Brothers (1960)

The Everly Brothers were worried. They were having label and management problems, marriage woes and drug troubles. And to top it all off, Elvis was out of the Army and back in the recording studio. No pressure.

They responded to this challenge with their almost-chart-topping LP A Date With The Everly Brothers (it reached number 3 on the Billboard Pop charts). I've been a casual fan of the Everly Brothers for some time, but always preferring their slower numbers ("Dream") over their bubblegum pop ("Cathy's Clown").

This album was no exception. I absolutely love the depressing "Love Hurts" and "Always It's You." But I can do without the aforementioned "Cathy's Clown" and "So How Come (No One Loves Me)." Overall, it was a nice piece of pop history that only lasted 30 minutes.

Favorite Tracks: "Love Hurts," "Always It's You" and "Made To Love"

#26. Miriam Makeba - Miriam Makeba (1960)

Miriam Makeba was a South African folk singer who always stood up for what she believed in. In 1959, she appeared in the anti-apartheid documentary Come Back, Africa by independent filmmaker Lionel Rogosin. He arranged a visa for her to leave South Africa to attend the film's premiere at the Venice Film Festival.

She then traveled to London, where she met Harry Belafonte. He helped her gain entry to and fame in America. Makeba was an instant success in New York nightclubs, and so RCA snatched her up. They were hoping to repeat the success of her mentor, Belafonte.

Tragedy struck when Makeba learned of the passing of her mother in South Africa. She learned that her passport had been revoked after trying to return home for her funeral. A few years later, she testified before the United Nations against apartheid and as a result, her South African citizenship and right to return to her country had been revoked.

Her debut album on RCA was a mixture of traditional South African folk songs, calypso-inspired numbers and more familiar material like "House of the Rising Sun." I preferred the traditional African folk numbers performed in her native language (Xhosa) over the bouncy calypso music. There's a moment when she introduces "The Click Song" and she says that "the English call it 'The Click Song' because they can not say 'Qongqothwane'). I love the honesty here and it's actually quite funny to hear the true pronunciation (and, no, i can't say it either). Despite the critical success of her debut, it may have been a bit too exotic to be a commercial success and RCA declined to renew her contract. 

She went on to become the most influential female singer to come out of South Africa. Not only in her artistry, but also in her humanitarianism. Makeba was awarded several peace prizes in her fight against apartheid, and eventually returned to her native country in the '90s at the urging of Nelson Mandela.

In addition to that, she even made an appearance as herself in the final season of The Cosby Show.

Favorite Tracks: "The Click Song," "Surilam" and "The Retreat Song"

#25. Elvis Is Back! - Elvis Presley (1960)

After a 2-year stint in the military, Elvis returned with this very eclectic group of songs. The styles ranged from doo-wop to rock to jazz to gospel. The album was recorded over 2 sessions, one in Hollywood and one in Memphis. When Elvis first returned to the studio, several reps from RCA attended to make sure that he still "had it." They needn't have worried, as the three singles that were recorded in these sessions ("It's Now or Never," "Are You Lonesome Tonight?" and "Stuck On You") all topped the charts.

However, due to contractual obligations (and Col. Tom Parker), none of those singles appeared on the original release of the LP. Elvis was only obligated to record 12 songs for the album, but the Memphis session turned into an all-night recording jam and they turned out 18 songs. Back then the charts were still very singles-based, so RCA felt no need to include the songs on the LP, since people were buying both anyway (mo' money).

I did enjoy this album a little more than Elvis Presley, if only for the very fun "Dirty, Dirty Feeling." And even though I much prefer the Peggy Lee version (or even the Madonna version), he does a fine cover of the very simple "Fever" (accompanied only by a bass and two percussionists).

Favorite Tracks: "Dirty, Dirty Feeling" "Fever" and "Such a Night"

#24. Joan Baez - Joan Baez (1960)

I've enjoyed my listening selections for the most part so far, but I'm very excited to move into the sixties. I went through a '60s phase throughout high school, but I was more into the late '60s rock than the early '60s folk movement.

Of course, I've heard of Joan Baez, but I don't think I've ever listened to one of her albums before. Her debut (released when she was only 19) introduced a new generation to folk music and opened the genre up to the mainstream. Despite her simple arrangements and beautiful singing, the album may not appeal to everyone today. I found her voice to be very captivating, especially on her haunting rendition of "House of the Rising Sun."

I would recommend this album if you like artists such as Tracy Chapman or the Indigo Girls and want to hear one of their early influences.

Favorite Tracks: "House of the Rising Sun," "Silver Dagger" and "John Riley."

#23. Time Out - The Dave Brubeck Quartet (1959)

Much to the surprise of Dave Brubeck, Time Out was not only a successful jazz album, but it also reached #2 on the Billboard Pop charts. Along with Paul Desmond, Eugene Wright and Joe Morello, Brubeck set out to record an album based on the use of time signatures that were unusual for jazz. The critics initially blasted him for daring to step outside of the norm, but it was well-received by the public and even spawned a hit in "Take Five."

This album brings back memories of my big move from Athens, GA to San Francisco. I was working at a record store on Union Street and there was this older guy (he must have been at least 34) who always insisted on playing this CD. I eventually grew to like it and even recognized a few tracks (it's probably been about 12 years since I've listened to this). The alto sax in "Take Five" has such a smooth coolness to it, but it was Morello's drum solo that brought me right back to that record store in the Marina.

Favorite Tracks: "Take Five," "Pick Up Sticks" and "Everybody's Jumpin'"

#22. Gunfighter Ballads and Trail Songs - Marty Robbins (1959)

I had no idea that Marty Robbins was so influential when it came to country & western music. The Marty Robbins I remember wore cheesy Elvis jumpsuits and pushed his Greatest Hits LPs (and 8-tracks) on late night TV. I have no idea why I so vividly remember the commercial for this, but that's how I know the song "El Paso City."

Apparently, 20 years before the jumpsuits, he was a very legitimate singer/songwriter. And, I had no idea that "El Paso City" was a sequel to the hit "El Paso." Very sneaky, Mr. Robbins.

Anyway, I'm not a huge fan of country/western music. I like Johnny Cash and Willie Nelson, but a lot of this stuff just tends to sound the same. Cowboy walks into a bar (or saloon), sees a girl, sees the guy the girl is with, shoots guy, goes to jail, dies by hanging. I didn't hate this album, but I honestly only remember 1 or 2 songs without looking at the track listing.

I should note that he did win a Grammy® in 1960 for Best Country & Western Recording for the song "El Paso."

Favorite Tracks: "El Paso," "They're Hanging Me Tonight" and "Big Iron"

#21. Kind of Blue - Miles Davis (1959)

Many music critics cite this as the definitive jazz album of all-time. In 2002, it was chosen by the Library of Congress to be added to the National Recording Registry. It ranked number 12 on Rolling Stone's list of 500 Greatest Albums of All Time.

At the risk of sounding passé, Kind of Blue is without question my favorite jazz album. It was probably the first instrumental jazz album I ever really listened to, and it just kind of stuck with me. A definite must-have for any jazz fan.

FAVORITE TRACKS: "So What," "All Blues" and "Flamenco Sketches"

#20. The Genius of Ray Charles - Ray Charles (1959)

This album marked Ray Charles' breakout from rhythm and blues and into a broader musical arena. The first six songs featured big band arrangements by Quincy Jones, while the final six songs are ballads accompanied by a large string orchestra. Charles pays tribute to pioneering jazz musician Louis Jordan twice on this album ("Let the Good Times Roll" and "Don't Let the Sun Catch You Crying."

I actually enjoyed this album a lot more than I was expecting. I especially loved the ballads. Coincidentally, the song "Come Rain or Come Shine" was playing at the Starbucks when I went for my first morning latte today. I went back to my desk and it was the next song on the album. Spooky.

FAVORITE TRACKS: "Come Rain or Come Shine," "Don't Let the Sun Catch You Crying" and "'Deed I Do"

#19. Ella Fitzgerald Sings the George & Ira Gershwin Songbook - Ella Fitzgerald (1959)

OK, I only listened to one album today. But it was a three album set of Ella Fitzgerald singing the Gershwin songbook. I started listening this morning on my iPod as I jogged the streets of West Hollywood. I felt like I was in a musical. I refrained from singing "Let's Call The Whole Thing Off," though it was difficult. I finished moments ago in my sweltering apartment, and I swear I can smell the smoke from the fire that's still burning on the other side of the mountain. 

Ella performs here with Nelson Riddle and his orchestra for the first time on 59 songs written by George and Ira Gershwin. These performances are easily among her best. She even won a Grammy® for Best Vocal Performance, Female for "But Not For Me" in 1960.

I don't really expect many people to run out and download a 3 album set on my recommendation. But, if you're slightly interested in one of the greatest female jazz vocalists ever, I would highly encourage you to at least try the slimmed down, 17-track version Oh Lady, Be Good! The Best of the Gershwin Songbook. There are some really amazing tracks on there.

FAVORITE TRACKS: "'S Wonderful," "Let's Call The Whole Thing Off," "But Not For Me," "Nice Work If You Can Get It" and "I Got Rhythm."

#18. Sarah Vaughan at Mr. Kelly's - Sarah Vaughan (1958)

Sarah Vaughan spent most of her time recording songbook standards backed by large orchestral arrangements. For this live performance recorded in 1957, she is backed only by a jazz trio consisting of Jimmy Jones, Roy Haynes and Richard Davis on piano, drums and bass respectively.

It's a very understated performance and easy to see why it's considered a classic. She has unbelievable vocal control and when she flubs her lines, she improvises without missing a beat. When she forgets the lyric to "How High The Moon" she proceeds with a calm self-assuredness and even gives an impromptu shout-out to Ella Fitzgerald.

Favorite Tracks: "Willow Weep For Me," "Honeysuckle Rose," and "Dancing In The Dark"

#17: Jack Takes the Floor - Ramblin' Jack Elliot (1958)

It was bound to happen. 1001 albums and there was no way that I was going to love everyone of them. With apologies to any Jack Elliott fans out there, I just didn't get this. I can understand that he must have been an influential link between country/bluegrass music to contemporary folk, but I could barely listen to this album.

I started with an open mind. After all, the first track is titled "San Francisco Bay Blues." It opened with a very nice guitar intro, but then he started talking. At first, I thought this was a live recording because he began every song with an introduction. After the first song ended and there was no applause, I thought, "well that's awkward. They could at least give a polite applause." Then I realized that it was all recorded live in the studio.

There is one track featuring Woody Guthrie that was OK ("New York Town"), but I wouldn't make someone listen to the entire album for it. I can definitely hear how artists like Bob Dylan and Mick Jagger were influenced by Jack Elliott, but I have to say I prefer them over Ramblin' Jack.

#16: Lady in Satin - Billie Holiday (1958)

This was Billie Holiday's final recording. She died of cirrhosis of the liver in 1959 at the age of 44. It was well known that she had a heroin addiction, and this album was to be her comeback. Instead it was received with mixed reviews. Some critics claimed that you could hear the vocal scars in each song and that her voice would never reach the upper range that fans were used to from her earlier recordings of the 1940s. Others argued that this was a brutally honest performance of heartbreaking jazz.

Instead of a normal jazz combo, Holiday sings over a full orchestral arrangement that reminded me of  In The Wee Small Hours by Frank Sinatra. The album also had the same themes of brutally honest love. The opening track, "I'm A Fool To Want You," is a song about being in a dysfunctional relationship and sets the tone for the rest of the album.

It was very hard for me to listen to this without getting emotional. I've always loved the sound of her voice and to hear this, knowing that she was fighting a losing battle with addiction, was just heartbreaking. She died with $.70 in her bank account and $750 in her possession. I'm glad I listened to this, but I think I need to listen to Tito Puente again to cheer me up.


Favorite Tracks: "I'm A Fool To Want You," "I Get Along Without You Very Well" and "You've Changed"

#15: Dance Mania! - Tito Puente (1958)

I can't think of Tito Puente without thinking of the song "Señor Burns" fromThe Simpsons.

This was the third, and my favorite, Latin Jazz album I've listened to this weekend. I found myself wishing I was at Cha Cha Cha in the Mission having a pitcher of sangria and learning how to mambo or salsa or cha cha. I'll be in SF in a month, who's down?



Favorite Tracks: "El Cayuco," "Cuando Te Vea" and "Varsity Drag (Mambo)"

#14: Here's Little Richard - Little Richard (1957)

Did you know that Little Richard's original lyrics to "Tutti Frutti" were "tutti frutti loose booty?" I'm not kidding. They were changed to "aw, rooty" to be more commercially acceptable. I'll never be able to sing the official lyrics again.

This was a fun album to listen to, if for no other reason that he is such a character. With his signat ure "wooo" on just about every track, I found myself reminded of the In Living Color skit, "Little Richard's Playhouse." Anyone else remember that? Shut up!


Favorite Tracks: "Tutti Frutti," "Long Tall Sally" and "Jenny Jenny"

#13: Kenya - Machito (1957)

My second foray into Afro-Cuban jazz was the all-instrumental Kenya by Machito. Again, I had never heard of this album or this artist, but I was pleasantly surprised. I felt like I was in Cuba in the 1950s, but the fact that my apartment doesn't have air conditioning may have contributed to that.

Where the Sabu album focused primarily on percussion, this album has more of a big band feel, with a Latin twist. Each of these albums have very distinct sounds, and I think  I liked this one just a little better. Put this on your iPod for that Latin-themed party.

Favorite Tracks: "Wild Jungle," Holiday" and "Tin Tin Deo"

#12: Palo Congo - Sabu (1957)

I'll be honest, I've never really been exposed to much Afro-Cuban conga music in my life. But, one of the great things about my 1001-album experiment is that I'll listen to albums that I otherwise would never have heard.

This is one such album. I've never heard of Sabu Martinez, but he was one of the premiere conga drum players in the history of Afro-Cuban music. In addition to his own recordings, he performed with such artists as Dizzy Gillespie, Tony Bennett and Sammy Davis, Jr.

I'm not sure if I would recommend this album to the casual listener, but if you're serious about broadening your musical horizons, you should definitely try this one out. If you're having a Latin-themed party, this would be the perfect soundtrack. Or even if you're just lounging by the pool drinking margaritas. And if you are doing that, why haven't you invited me?



Favorite Tracks: "El Cumbanchero," "Billumba-Palo Congo" and "Rhapsodia Del Maravilloso"

#11: Brilliant Corners - Thelonious Monk (1957)

Picture it. United States, in the early '90s. A young Bill Clinton was campaigning for the presidency. He agreed to go on MTV to be interviewed by supposed intellectual Tabitha Soren. She asked him if there was anything he ever dreamt of doing. He replied that he had always wanted to play sax with Thelonious Monk. Soren, with her best "smart-girl" face questioned "And who was the loneliest monk?"

Now, I'm not saying that back in 1992 I knew everything about Thelonious Monk. But, she was working for MTV. I'm pretty sure the "M" stood for "Music" back then. And she was interviewing a presidential candidate. Anyway, enough about  her.

This album was a very stark contrast to the less than 3 minute rock hits from The Crickets. There are only 5 tracks and the shortest one is 5 and a half minutes. The title track was the most complex recording of Monk's career, requiring about a dozen takes in the studio. It was also one of the 50 recordings chosen by the Library of Congress to be added to the National Recording Registry in 2003.

Aside from all of its historic significance, it's just an amazing piece of music. As I sat in my 1 bedroom apartment in West Hollywood trying my best to stay cool, I managed to escape for 45 minutes. It was definitely a cool album, but it couldn't cure the flop sweats.

Favorite Tracks: "Brilliant Corners," "Pannonica" and "I Surrender, Dear".

#10: The "Chirping" Crickets - The Crickets (1957)

The longest song on this album is only 2 minutes and 36 seconds. The entire album of 12 songs clocks in around 26 minutes. Nonetheless, it is still considered a milestone in rock history for several reasons. It was Buddy Holly's debut LP, and only 3 of his albums were released in his lifetime. It also demonstrated that it was possible to write hit songs under 3 minutes (back in the 50s, 3 was the magic number and most record labels insisted that their artists record singles as close to that time as possible).

I've been a fan of Buddy Holly since some time in high school. The scene in  Stand By Me when the 4 boys are walking along the railroad tracks to the tune of "Everyday" is etched in my memory and I've been a fan ever since. It was very clear to me listening to this album that he was a major influence on the rock & roll movement. I learned that the Beatles even named themselves as an homage to The Crickets. The irony being that not all the members of the Crickets (a "singing" insect) actually sang, but all the members of the Beatles did.

Favorite Tracks: "Not Fade Away," "Oh Boy," and "That'll Be The Day".

#9: This is Fats - Fats Domino (1956)

All I could think about was watching Happy Days as a kid and hearing Ron Howard sing "Blueberry Hill" whenever he was about to get lucky. Yes, it was an amusing running gag, but after awhile it got old. Unfortunately, I kind of felt the same way about this album. There were a few good tracks, but after awhile, they all started to sound the same.

Favorite Tracks: "Blueberry Hill," "Blue Monday," "Honey Chile," and "Trust In Me"

#8: The Wildest! - Louis Prima

OK, if you've been following along at home with your own copy of the book, you may have noticed that I haven't exactly been going in order. Well, I actually just got the book today. I had been going off the list on the website, which wasn't in true chronological order. I'm going to get on track now.

Louis Prima was a well-known nightclub singer/trumpeter in the '30s and '40s, with moderate success in his hometown New Orleans and later in New York. In the mid-50s, he joined a band that landed a gig at the Sahara Hotel and Casino in Las Vegas. They quickly became the hottest act in town.

Capitol Records wanted to capture the same spirit and energy of their lounge act o n this record, so they had the band cut it live in the studio. The result is a half hour of irresistible swingin' jazz.

Most of you probably remember the Brian Setzer cover of "Jump, Jive An' Wail" that was featured in a GAP® commercial in the '90s. A few of you might remember the deliciously tacky David Lee Roth version of "I'm Just A Gigolo/I Ain't Got Nobody" from the '80s. But did you know that Louis Prima was also King Louie from The Jungle Book? And one of my all-time favorite Disney songs just happens to be "I Wan'na Be Like You."

Needless to say, this was a very fun album and it made me want to take swing dance lessons. Who's in?

Favorite Tracks: "Medley: I'm Just A Gigolo/I Ain't Got Nobody," "Jump, Jive, An' Wail" and "The Lip."

#7: The Atomic Basie - Count Basie (1957)

This album marked a new phase in the career of Count Basie. While not as daring as what Duke Ellington had done at Newport the previous year, it still proved to the world that big-band jazz orchestras could turn out fresh and inspiring performances. From the minimalist piano in "The Kid From Red Bank" to the muted trumpets in "Duet," I found this to be a brilliant piece of music.

Although, I'm not too fond of that album cover. It made me think of a post-apocalyptic  Gilligan's Island.

Favorite Tracks: "Duet," "Whirly-Bird," and "Li'l Darlin'"

#6: Tragic Songs of Life - The Louvin Brothers (1956)

This is a very aptly titled album. The songs span the dark emotional spectrum from bittersweet nostalgia all the way to murder. It's no doubt that this album is a landmark in traditional country music, but at times it feels unintentionally comic. In the song "Knoxville Girl," the singer beats his girlfriend to death with a stick in the woods (!) and when his mother inquires about his bloody clothes, he tells her had a nosebleed. The singer ends up in jail, where his friends try to bust him out. But, he's still there at song's end.

There's a scene in  Raising Arizona where Holly Hunter's character is singing a lullaby about murder to little Nathan, Jr. That's all I could think about while listening to these songs. Now I want to watch that movie again.

Oh, and please do a google image search for their album "Satan Is Real." They were being serious.


Favorite (?) Tracks: "Knoxville Girl," "Kentucky," and "Alabama."

#5: Birth of the Cool - Miles Davis (1956)

In 1947, Miles Davis began forming larger jazz groups as an alternative to the small groups typical to contemporary jazz at the time. The nine piece band he started performed very briefly in '48, and when he was contracted the following year to produce a number of 78 rpm singles for Capitol Records, he got the band back together. Eight of the songs were originally released as singles in 1950, but were compiled in '56 with three unreleased tracks on the LP Birth Of The Cool. A vocal song, "Darn That Dream" was added to a re-release in 1971, though, in my opinion, it was not needed and felt a little out of place.

I've always been a fan of Miles Davis, but I don't think I've ever really listened to this album before. I was stuck in traffic on my way home from a very long day at work when I listened to it for the first time. I'm listening to it again right now trying to wrap my head around just how he was able to get that sound out of a trumpet. I tried playing the trumpet once. It wasn't pretty. I'm in awe of the way the nine different instruments play off each other to create such beautiful emotions. This is the perfect album to unwind to after a long day of building websites for the Mouse.

And, yes, this is Lisa Simpson's favorite album. Favorite Tracks: "Move," "Venus de Milo," "Boplicity" and "Moon Dreams"

#4: Songs for Swingin' Lovers - Frank Sinatra (1956)

Just one year after In The Wee Small Hours, Sinatra returns with a decidedly different kind of romantic album. Instead of morose songs about lost love, Frankie sings hipper, jazzier versions of existing pop standards.

He was teamed with new arranger Nelson Riddle and together they recreated the songs of a previous generation in a new light and created new pop standards in the process. My favorite track is without question the legendary Cole Porter song "I've Got You Under My Skin." It starts off as a relatively subdued, brooding love song that climaxes with an out of control slide trombone solo. I'm also partial to the line "wake up to reality." What a great piece of advice.

Favorite Tracks: "I've Got You Under My Skin," "Makin' Whoopee," and "Anything Goes."

#3: Elvis Presley - Elvis Presley (1956)

The historical significance of this album is unquestionable. It was Presley's first full-length LP; it was the first rock 'n' roll album to reach #1 on the Billboard charts; and it was the first rock LP to sell a million copies. So, it's no wonder that it made the list of the 1001 albums.

Oh, and the album cover inspired The Clash's London Calling, among others.

The songs are a weird mix of countrified leftovers from his sessions at Sun Records, and rock versions of then-recent rhythm & blues tracks, most notably "I Got A Woman" by Ray Charles and "Tutti Frutti" by Little Richard. It also contains his cover of the Carl Perkins song "Blue Suede Shoes."

Growing up in my household, it was difficult not to like Elvis. My mom's Elvis records are the only albums I remember her owning. I remember being in awe of the blue vinyl of Moody Blue and thinking he looked like a sad Gomer Pyle on the cover of How Great Thou Art. Go ahead. Google it. I don't remember her owning this particular album, but listening to it does make me think of her and what wild taste in music she had back in the day.

Favorite Tracks: "Blue Moon," "I Got A Woman" and "Money Honey"

UP NEXT: Frank Sinatra, again

#2: Ellington at Newport - Duke Ellington (1956)

I've never been the biggest fan of jazz instrumentals. I think I was traumatized in junior high band. I vividly remember that stupid assembly at Dunson Elementary in the 6th grade when some guy was there peddling musical instruments to unsuspecting pre-teens. (Wasn't that the plot of Music Man?) Anyway, I begged my mom to let me get the trombone because you could make this really cool slide noise with it. Well, let me tell you, that got really old really fast. Just ask my mom. She made me practice outside. It never caught on and I quit on the first day of Band Camp in 9th grade, so I don't have any awesome Band Camp stories.

As I was saying, I've never been the biggest fan of jazz instrumentals, but I definitely found myself tapping my foot to this record. I pictured myself in a crisp black suit, smoking a cigarette and downing my 3rd martini... before noon... and I don't smoke or drink martinis. This concert was recorded in 1956 at the Newport Jazz Festival, and let me tell you, those folks got pretty rowdy. The concert started off calmly enough, but after Duke & his orchestra performed "Crescendo In Blue," featuring trumpeter Cat Anderson, the crowd began to come unglued! Duke tried to calm them by introducing a couple of saxophone pieces, but they wouldn't disperse. It was quite fascinating. There's a track actually called "Riot Prevention." The band finally ended the show with a drum solo and Duke thanking everyone while the band played "Mood Indigo."

As I was saying, I've never been the biggest fan of jazz instrumentals, but I definitely found myself tapping my foot to this record. I pictured myself in a crisp black suit, smoking a cigarette and downing my 3rd martini... before noon... and I don't smoke or drink martinis. This concert was recorded in 1956 at the Newport Jazz Festival, and let me tell you, those folks got pretty rowdy. The concert started off calmly enough, but after Duke & his orchestra performed "Crescendo In Blue," featuring trumpeter Cat Anderson, the crowd began to come unglued! Duke tried to calm them by introducing a couple of saxophone pieces, but they wouldn't disperse. It was quite fascinating. There's a track actually called "Riot Prevention." The band finally ended the show with a drum solo and Duke thanking everyone while the band played "Mood Indigo."

UP NEXT: Elvis Presley

#1: In the Wee Small Hours - Frank Sinatra (1955)

Contrary to popular belief, I have not already heard all of the albums listed in the book 1001 Albums You Must Listen To Before You Die. So, yesterday, inspired by Julie & Julia, I decided that I should listen to all 1001, and write about them.

Yes, I know I'm not the first person to think of this. If I was, I would have written the book.

Before this album was released in 1955, most LPs were just randomly compiled collections of the artist's hits. This was the first "concept" album. The songs were written, recorded and sequenced specifically for this album.

All of the songs are ballads and focus on lost love (which I later discovered was supposedly due to Sinatra's separation from Ava Gardner).

I wouldn't recommend playing this on a road trip. No, this album is perfect for those nights battling insomnia or when you want to relax with a glass of wine after watching the latest episode of Mad Men.

Favorite tracks: "In The Wee Small Hours of the Morning," "Mood Indigo," "I Get Along Without You Very Well (Except Sometimes)" and "Dancing on the Ceiling" (which is NOT the same as the Lionel Richie track by the same name).

UP NEXT: Duke Ellington