Jazz.
The sound of America improvising.

Samara Joy's Linger Awhile, released on Verve Records in September 2022, brought the American vocal jazz tradition to audiences who had never sought it out, while remaining rooted in its deepest sources: gospel, Sarah Vaughan, and the acoustic small-group setting. The album won both Best Jazz Vocal Album and Best New Artist at the 65th Grammy Awards.

Bebop did not emerge from a single moment of inspiration. It grew from three converging forces in early-1940s New York: the protected jam sessions at Minton's Playhouse in Harlem, where Henry Minton's union connections shielded musicians from fines; the 1944 wartime cabaret tax, which devastated big bands and made small instrumental combos economically rational; and the 52nd Street club scene, where Parker and Gillespie took the music public. Together, those forces turned a private laboratory into a new art form.

Wayne Shorter recorded "Speak No Evil" on Christmas Eve 1964, produced by Alfred Lion, at the precise hinge point between his years with Art Blakey's Jazz Messengers and his new role in the Miles Davis Quintet. The album's personnel, its demanding compositions, and Shorter's deliberate break from the Coltrane-affiliated rhythm sections of his earlier Blue Note records all mark it as the moment he forged his own compositional identity. Shorter passed away in March 2023, and the record remains the clearest single document of what he could do when working entirely on his own terms.

Jaco Pastorius's 1976 debut album on Epic Records, produced by Bobby Colomby, announced a new role for the electric bass: not a rhythm instrument in the background, but a melodic voice at the center. Through tracks like "Donna Lee," "Portrait of Tracy," and "Continuum," and then through his work with Weather Report on the landmark 1977 album Heavy Weather, Pastorius demonstrated that a fretless bass could carry melody, harmony, and groove at once. His influence, absorbed by musicians from Victor Wooten to Marcus Miller, reshaped what listeners and players expect from the instrument.

Kamasi Washington's 2015 triple album The Epic and Shabaka Hutchings' 2018 Sons of Kemet record Your Queen Is a Reptile are the twin poles of the same spiritual jazz revival, each extending the Pharoah Sanders and Alice Coltrane inheritance into the specific sound of their city, Los Angeles and London, and reaching audiences who didn't know they were waiting for it.

Count Basie recorded "One O'Clock Jump" for Decca on July 7, 1937, as a head arrangement built on a 12-bar blues. Its defining structural choice was placing two tenor saxophonists, the Coleman Hawkins-influenced Herschel Evans and the cool, airy Lester Young, back to back, building a philosophical argument between irreconcilable styles into the architecture of a dance record. The 1937 recording was inducted into the Grammy Hall of Fame in 1979 and added to the Library of Congress National Recording Registry in 2005.

Thelonious Monk copyrighted "'Round Midnight" in 1943 as a private love song titled "I Need You So," written during his courtship of Nellie Smith. The melody that became the most recorded standard by a jazz musician reached its defining moment when Miles Davis played it at Newport in 1955, earning a Columbia Records contract and producing one of hard bop's landmark albums.

In February 1956, Ella Fitzgerald recorded “Ella Fitzgerald Sings the Cole Porter Song Book” at Capitol Studios in Hollywood, the first album released on Verve Records, a deliberate maneuver by producer Norman Granz to reposition her voice for a wider audience and the template for one of the most celebrated recording series in American music.

John Coltrane recorded “A Love Supreme” in one session on December 9, 1964, produced by Bob Thiele, with McCoy Tyner, Jimmy Garrison, and Elvin Jones. Its four movements, “Acknowledgement,” “Resolution,” “Pursuance,” and “Psalm,” form a single arc of spiritual autobiography, unified by a four-note bass motif that the album’s closing saxophone narration quietly completes.

Lenny White played drums on Bitches Brew at nineteen and then built the rhythmic foundation of Return to Forever's electric peak across four albums from 1973 to 1976 — yet his name almost never leads the conversation about either record. This is the case for why it should.