--- product_id: 2655662 title: "100 Best Jazz Tunes Of The 1950S" brand: "various artists" price: "VT21913" currency: VUV in_stock: true reviews_count: 11 url: https://www.desertcart.vu/products/2655662-100-best-jazz-tunes-of-the-1950s store_origin: VU region: Vanuatu --- # 100 Best Jazz Tunes Of The 1950S **Brand:** various artists **Price:** VT21913 **Availability:** ✅ In Stock ## Quick Answers - **What is this?** 100 Best Jazz Tunes Of The 1950S by various artists - **How much does it cost?** VT21913 with free shipping - **Is it available?** Yes, in stock and ready to ship - **Where can I buy it?** [www.desertcart.vu](https://www.desertcart.vu/products/2655662-100-best-jazz-tunes-of-the-1950s) ## Best For - various artists enthusiasts ## Why This Product - Trusted various artists brand quality - Free international shipping included - Worldwide delivery with tracking - 15-day hassle-free returns ## Description 10 HOURS OF JAZZ FROM THE GENRE'S MOST EXPLOSIVE DECADE 8 DISCS IN A DELUXE BOX, ALL WITH INNER MINI LP BAGS, 64 PAGE, FULLY ILLUSTRATED BOOKLET (w. extensive notes, detailing each track, by world renowned Jazz critic Charles Waring), & EVERY TRACK FULLY REMASTERED - ALL PRICED VERY COMPETITIVELY. All the biggest names from jazz history are featured here - from early pioneers like Louis Armstrong, Duke Ellington and Count Basie to modern jazz pathfinders represented by Charlie Parker, Dizzy Gillespie, Miles Davis, Dave Brubeck, Charles Mingus, John Coltrane and Ornette Coleman. ## Images ![100 Best Jazz Tunes Of The 1950S - Image 1](https://m.media-amazon.com/images/I/71Fc5Z1lkhL.jpg) ![100 Best Jazz Tunes Of The 1950S - Image 2](https://m.media-amazon.com/images/I/81Tv2faUJAL.jpg) ## Customer Reviews ### ⭐⭐⭐⭐⭐ A well-produced set of great recordings--useful for the newcomer and handy for the experienced fan. *by S***L on Reviewed in the United States 🇺🇸 on July 3, 2018* A well-documented, intelligent selection of tunes. Although I'm not a fan of "potpourri" collections as a rule, this one is better than most--from the audio quality to the selections to the notes about each track. As a radio announcer of a jazz show I keep find this set especially handy for the nights when I don't have time to locate the individual albums (my collection has become somewhat overwhelming if not unmanageable).I'm cheered by this set's inclusion of a track I hadn't expected to find. It's the signature recording by the most underrated--arguably, "best"--group of the 1950's--namely, the Curtis Counce Group and its recording of "Landslide" (my desert island track out of the whole box). What troubles me is the lack of any mention of the expressed purpose of this finely tuned and perfectly recorded group (on the Contemporary label). At its formation, Counce said that his intention as leader was to dispell all of the pejorative characterizations of "West Coast Jazz" by the "East Coast Elite." I remember the arguments and "walls" set up like a firestorm when I arrived at my Midwestern College as a freshman. East Coast jazz was the "real deal," the only jazz I should listen to because it was soulful, it was hard-swinging and hard-driving, it had no use for fancy arrangements and exotic instruments (flutes, English horns, oboes, etc.), and like the jazz tradition itself, the recordings on Blue Note and Prestige were 100% (or close to) by black musicians. You had to know the difficult tunes (like "Donna Lee") and be able to run them down in unison and from memory with the other guys in the front line. By contrast, West Coast jazz was cerebral and sterile, wimpy and non-aggressive, pretentious and academic and, most damning of all, it was "fay" and "white.When I entered college as a freshman from northern Wisconsin, I soon began to hide my Columbia Records in the closet--"Brubie Desbeck," "Stan Guts," etc.--as they were derisively called by the inner circle of guys who backed their talking with impressive playing. But then I discovered the several recordings by the Curtis Counce Group and read about the group's goal of "putting the soul" into West Coast Jazz while playing with the precision and balance of the best classical ensembles. Listening to their several complete and finished albums is to discover perhaps the only ensemble that could hold its own with the best small groups from the East Coast--incl. Miles' Quintet, Clifford and Max's group, and Blakey's Jazz Messengers.I think it wouldn't have hurt for the producers of the present booklet to have made some mention of the group's expressed purpose and success in realizing it. (I only wish there had been more than the 4 complete, near-perfect albums. But leader Counce probably sensed rightly that the most irreplaceable player in the group was not the great Harold Land (who had been a mainstay with Clifford and Max prior to joining Counce) nor the phenomenal drummer, Frank Butler (whom Miles seriously considered before anointing Tony Williams as his next percussionist). No, the musician who mattered most was the inimitable pianist, Carl Perkins, who used the handicap of a deformed, withered left arm (a leftover from the polio he fought as a child) to his advantage by playing with his left arm parallel with the keys, which helped him combine the rhapsodic style of Errol Garner with the inventive Bird-like lines of Bud Powell (at his best). With the shocking news of Perkins' death--from a drug overdose, before the age of 30--Counce simply disbanded the group, saying that Carl had been the group's heart and that it would be pointless to chase the perfection achieved while he was alive.Perhaps I'm wrong. Commentary such as the foregoing could be, at best, a distraction; at worst, divisive. On the other hand, it could help some listeners become involved with, and get their arms around, some music that, though instrumental, soon discloses the unique, inimitable "voices" of each player. I know that reading about the music has helped me understand it better and even "like" it. Most of us think we know what we like, but that can easily be turned around with a somewhat different result. To know a thing better--closing the distance between the object and our own experiences through listening, seeing, and reading--is to like it all the more. ### ⭐⭐⭐⭐⭐ Great Collection! - Great Price! *by T***D on Reviewed in the United States 🇺🇸 on May 6, 2023* Great Collection! - Great Price! ### ⭐⭐⭐⭐⭐ Very nice collection and presentation *by G***K on Reviewed in the United States 🇺🇸 on March 23, 2023* Nice mix. Sounds quality is very good . Nice sturdy box. Very good description of tracks. Was surprised with quality of this compilation. Each disc presents thematic patterns either years or styles. --- ## Why Shop on Desertcart? - 🛒 **Trusted by 1.3+ Million Shoppers** — Serving international shoppers since 2016 - 🌍 **Shop Globally** — Access 737+ million products across 21 categories - 💰 **No Hidden Fees** — All customs, duties, and taxes included in the price - 🔄 **15-Day Free Returns** — Hassle-free returns (30 days for PRO members) - 🔒 **Secure Payments** — Trusted payment options with buyer protection - ⭐ **TrustPilot Rated 4.5/5** — Based on 8,000+ happy customer reviews **Shop now:** [https://www.desertcart.vu/products/2655662-100-best-jazz-tunes-of-the-1950s](https://www.desertcart.vu/products/2655662-100-best-jazz-tunes-of-the-1950s) --- *Product available on Desertcart Vanuatu* *Store origin: VU* *Last updated: 2026-05-17*