197. Steely Dan / Gaucho (1980)

Gaucho is the last album before the Dan's 12 year hiatus. It's the capstone of the original run, a grooving foil to Aja's majestic sophistication, and the proverbial semibreve rest in the ongoing saga of the Becker/Fagen partnership. Instead of trying to reinvent the wheel, Gaucho swaps Aja's complexity for simple charts and chill vibrations that recall classic rock, rhythm, and soul. Here, the down tempo is on tap and the beats play straight ahead.  Hear "Babylon Sisters" shimmer with rich sonority, lush background vocals and immaculately layered overdubs, and you get the picture. Gaucho is also notable for the drum machine (engineer Roger Nichols' "Wendel") lending additional consistency to the already smooth track sequence. If you like Steely Dan, then chances are you won't be disappointed by the fare on Gaucho. But at the same time, while these are unmistakably "Steely" tunes, I think it is also the most stylistically distinct album in the catalog. As always, make of that what you will.

103. Art Farmer / Meet the Jazztet (1960)

I love this album. Art Farmer's Jazztet was a lot like the Jazz Messengers. Their music had a different flavor than the Messengers but each group was stacked with the fine and innovative musicians and each played the picture of hard bop. Benny Golson does the arrangements and the band plays two of his tunes: "I Remember Clifford," the beautiful tribute for which words are woefully inadequate, and "Blues March," an attention-grabbing blues with a startling cadence and spunky arrangement. There are some obligatory standards ("It's Alright with Me," and swanky "It Ain't Necessarily So") during which the band displays its chops like fine silver. Golson and Farmer make ideal foils by themselves, Golson with superheated explosions of verbosity and Farmer with his carefully crafted and natural lyricism. But you can't forget or ignore the contributions of Curtis Fuller, either. He has some really hip parts, with big, brassy punctuation marks or deftly fingered runs that will make you think he's got a cornet. There's mucho variety, the arrangements keep it fresh, and Lex Humphries swings it hard. If you're getting into this type of music, Meet the Jazztet is essential listening.

102. Anthology of Big Band Swing, 1930-1955 (1993)

The scope of this Decca Records compilation encompasses the whole swing era from the stomping greats of 1930 to the final holdouts of the mid '50s. The restored sound quality is excellent but the strength, or allure, of this two-disc set is the variety of material that was chosen. The editors did a great job selecting the tracks, a sure success. Their work provides a detailed and meaningful cross section of the many diverse bands playing swing music in the United States. They could have flubbed it. Decca's roster was about as deep as the Yankees bullpen, but it also had some of the biggest guys in it. So in other words, while Basie, Duke, and Benny are represented here, they're not disproportionately represented to the exclusion of the label's other, smaller acts. Instead, the spotlight spreads a little wider. The resulting collection is presented chronologically and allows listeners to follow swing as it matured and developed over a cool quarter-century. Across 40 tracks, there are 37 different bands that will jump, jive and wail you into a frenzy. There are so many great bands here in one collection, not to mention their soloists -- Fletcher Henderson, Don Redman, Chick Webb, Jimmy Lunceford, Mills Blue Rhythm Band, Tiny Bradshaw, Jack Teagarden, Noble Sissle, Glenn Miller. And the list goes on, and on, and on! I listen to the whole thing and I get excited thinking about the era, the big dance halls and the excitement this type of music provided to people like my grandparents in such a trying time of depression, war, and uncertainty. It's difficult and expensive for a listener to take in all the swing groups one-by-one and try to put them in context. These 40 songs make it much easier to understand foundational jazz music of the '30s, '40s, and '50s. This should be on every jazz collector's shelf.  

93. Etta James / At Last! (1961)

In James' debut long player, the young vocalist demonstrates her versatility in a variety of related musical forms (pop, soul, rhythm and blues) while bringing her strongest suit (the blues) to make an impact in all. Raw ballads ("A Sunday Kind of Love" and "Stormy Weather") or songs approaching bubblegum if not for James' gravely vocal ("Tough Mary") are rendered as justly as the pair of Willie Dixons ("Spoonful" and "I Just Want to Make Love to You"). Her style combines different vocal techniques, vacillating between the heartbroken spoken-word to a gut-wrenching growl, or thin, girlish whisper. She is really exciting in tunes like "Trust in Me" when she careens through the whole arsenal in the span of a few seconds. It's an emotional roller coaster, a wild ride. Leonard and Phil Chess had the wherewithal to see James' crossover potential, and invited Riley Hampton to add strings to the session. This gives Ms. James an eloquent backdrop that frames her voice in stately beauty. The CD reissue includes several singles not issued on the LP, like the above "Spoonful."