In conversations with fellow music lovers and aspiring musicians, particularly students, the question of essential listening for jazz trumpet players frequently arises. While the vast landscape of jazz offers countless albums worthy of exploration, the sheer volume can be overwhelming. To provide a focused starting point and prevent paralysis by choice, this guide narrows down a curated list of recordings considered fundamental for anyone seeking to understand the history and artistry of jazz trumpet. Think of this as a primer, an introduction to the foundational “Trumpet Songs” that have shaped generations of musicians and continue to inspire. This list also serves as a valuable reference for jazz trumpet students, offering exemplary models of the musical destinations they aspire to reach. It’s important to acknowledge that compiling such a list involves subjective decisions, and not everyone will concur with every selection – but this is a personal curation, reflecting a specific perspective. After engaging discussions with friends, here is a list of ten pivotal albums, plus ten more for further exploration, representing essential “trumpet songs” every aspiring player and jazz enthusiast should hear.
1. Miles Davis – Kind of Blue (1959)
Essential Track: “So What”
Perhaps the most universally recognized jazz album, Kind of Blue is an indispensable entry point for anyone exploring jazz “trumpet songs”. It features several pieces that are staples for aspiring jazz musicians, alongside one of the most exquisite ballads ever recorded, and the intriguing “Flamenco Sketches.” While “Flamenco Sketches” is a fascinating track, its unique nature often leads to it being overlooked in performance, making it somewhat of a hidden gem on this iconic album.
In truth, numerous Miles Davis albums from this period could have been included, and his extensive career warrants further exploration. However, for albums that exemplify Davis’s style during this highly influential era – the style most frequently emulated by jazz trumpeters, particularly those starting their journey – delve into his late Prestige sessions (Walkin’, Cookin’, Steamin’, Relaxin’), his collaborations with Gil Evans on big band projects (Miles Ahead, Porgy and Bess, Sketches of Spain), and albums like Milestones, Someday My Prince Will Come, Round About Midnight, and Cannonball Adderley’s Somethin’ Else, which carries a distinct Miles Davis vibe and held personal significance for many. These recordings all fall within the period between 1955 and 1961, representing a golden age for Miles and for “trumpet songs”.
2. Louis Armstrong – The Complete Hot Fives and Sevens (1925-1930)
Essential Track: “West End Blues”
Louis Armstrong’s recordings with his Hot Five and Hot Seven, released in a series between 1925 and 1930, fundamentally shaped the trajectory of jazz trumpet and, arguably, jazz music as a whole. It’s no exaggeration to say that virtually all jazz music can trace its roots back to these recordings. The very concept of the jazz soloist – still the dominant paradigm in small group jazz a century later – undeniably emerged from these groundbreaking sessions. These are the bedrock of “trumpet songs”.
While contemporary listeners might initially perceive these recordings as dated, their enduring value and impact become increasingly apparent with time. To truly appreciate their revolutionary nature, compare them to earlier jazz recordings and then listen to the later Hot Seven tracks. The quantum leap in musical evolution within those few years is astonishing, demonstrating Armstrong’s pivotal role in developing “trumpet songs” and jazz itself.
3. Oliver Nelson – The Blues and the Abstract Truth (1961 – Freddie Hubbard on trumpet)
Essential Track: “Stolen Moments”
Legend has it that Freddie Hubbard considered his performance on this album (recorded at the young age of 23) to be the pinnacle of his recording career. Whether or not that anecdote is entirely accurate, Hubbard’s output between 1961 and 1966 was undeniably extraordinary. The sheer volume of remarkable recordings featuring Hubbard during this period is unparalleled in jazz history. Beyond The Blues and the Abstract Truth, other essential albums from this era showcasing his “trumpet songs” include Herbie Hancock’s Empyrean Isles and Maiden Voyage, Wayne Shorter’s Speak No Evil, and Hubbard’s own Ready for Freddie.
Hubbard’s potent sound, refined technique, and inherent musicality became the gold standard for trumpet players globally. Many consider his sound and style to represent the ideal in jazz trumpet playing. While replicating Freddie’s genius is an impossible task, his “trumpet songs” remain an aspirational benchmark for all.
4. John Coltrane – Blue Train (1958 – Lee Morgan on trumpet)
Essential Track: “Lazy Bird”
Lee Morgan, in many respects, embodies the quintessential hard bop trumpet player. His playing is characterized by an aggressive attack and robust tone, similar to Freddie Hubbard, but with a pronounced blues sensibility that distinguishes him from his contemporaries. Morgan’s most celebrated trumpet solo, and a personal favorite, is on the title track of Art Blakey and the Jazz Messengers’ Moanin’ (1959), another essential album in the realm of “trumpet songs”. However, Blue Train showcases Morgan’s exceptional playing across a diverse range of compositions. Listeners can hear his brilliant blues improvisation on the title track, and witness his mastery of complex chord changes on pieces like “Lazy Bird” and “Moment’s Notice”.
Further exploration of Morgan’s “trumpet songs” should include the aforementioned Moanin’, as well as his own albums Search for the New Land, The Sidewinder, and Cornbread. The latter two, in particular, highlight Morgan’s talent for integrating contemporary Black popular music elements into a jazz framework, creating uniquely appealing “trumpet songs”.
5. Clifford Brown and Max Roach – Study in Brown (1955)
Essential Track: “Cherokee”
Clifford Brown was an extraordinary talent, a true phenomenon. The sheer volume and quality of his recordings within his brief career are astonishing, especially considering he was sidelined for nearly a year after a car accident at 19, and tragically passed away at the young age of 25. His contribution to “trumpet songs” is immense.
Personally, Clifford Brown’s music became significant later in my musical journey – I wasn’t deeply familiar with him until college. Consequently, his influence on my playing wasn’t as immediate as it was for many others. However, his remarkable blend of technical prowess and soulful expression, along with his exceptional articulation, played a pivotal role in the evolution of jazz trumpet history and the development of “trumpet songs”.
Study in Brown features his most celebrated rendition of “Cherokee,” performed at a blistering tempo. His solo on this track is legendary, managing to be both melodically captivating and technically breathtaking, even at an almost impossibly fast speed. Numerous other outstanding Brown recordings exist, with notable examples including Clifford Brown with Strings, Clifford Brown and Max Roach at Basin Street, and the Jazz Messengers’ A Night at Birdland recordings, all showcasing masterful “trumpet songs”.
6. Chet Baker – Chet Baker Sings (1954)
Essential Track: “But Not For Me”
Chet Baker, a naturally gifted musician, possessed arguably the most refined melodic sensibility of any trumpet player. Like Miles Davis in the 1950s, Baker’s appealing melodic approach, accessible harmonies, and understated technical display make him a favorite among those new to jazz. His “trumpet songs” are models of melodic invention.
Chet Baker Sings is an excellent starting point to appreciate his innate ability to craft beautiful melodies. The album also showcases his vocal talents, revealing a striking similarity between his singing and trumpet playing. Beyond this album, further exploration of Chet Baker’s “trumpet songs” is highly recommended. Personal favorites include the Chet Baker Quartet Live albums and She Was Too Good to Me, a later recording from a different period, but still a compelling example of his artistry and the first Chet Baker album to truly resonate with many listeners.
7. Ambrose Akinmusire – When the Heart Emerges Glistening (2011)
Essential Track: “Confessions to My Unborn Daughter”
Ambrose Akinmusire has profoundly reshaped the contemporary jazz trumpet landscape, arguably more significantly than any other trumpeter in recent decades – perhaps since Woody Shaw, or even Miles Davis and Freddie Hubbard. While some might consider this a bold assertion, it’s widely acknowledged among trumpet players familiar with Akinmusire’s work that he has expanded their understanding of the instrument’s possibilities. His innovative approach is clearly evident in his “trumpet songs”.
This album marks Akinmusire’s major label debut (on Blue Note). While some might prefer his second Blue Note release (The Imagined Savior is Far Easier to Paint), “Confessions to My Unborn Daughter” from When the Heart Emerges Glistening is an unparalleled introduction to his artistry. The track opens with an extended solo trumpet statement that is simply breathtaking, one of the most impactful introductions to an album and an artist in recent memory. Prior to this, Akinmusire’s only release was Prelude: To Cora on Fresh Sound in 2008, a well-regarded album but not as groundbreaking as his later work. His more recent albums, including the live A Rift in Decorum and on the tender spot of every calloused moment, further solidify his reputation for pushing the boundaries of jazz trumpet and creating truly unique “trumpet songs”.
8. Miles Davis – Miles Smiles (1966)
Essential Track: “Gingerbread Boy”
A separate section is essential to discuss Miles Davis’s “Second Great Quintet”. The albums Davis recorded with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams revolutionized the conception of jazz form and the role of the rhythm section. While their innovations built upon the groundwork laid by others, notably Ornette Coleman, Eric Dolphy, and Bill Evans, these recordings offer the most accessible and prominent examples of this revolutionary jazz group concept. Their influence remains profoundly evident in contemporary jazz, even decades after their release. These albums are cornerstones of “trumpet songs” from this era.
Any album from the Second Great Quintet is crucial listening, but alongside Miles Smiles, E.S.P., Nefertiti, and The Complete Concert 1964 (My Funny Valentine plus Four + More) are particularly recommended for understanding the evolution of “trumpet songs” and jazz harmony.
9. Wynton Marsalis – Standard Time, Vol. 1 (1987)
Essential Track: “Autumn Leaves”
Wynton Marsalis’s career is complex, often contradictory, yet undeniably significant. While his contributions to jazz education are undeniable, his rigid musical ideologies sometimes overshadow his genuine musical achievements. Despite personal reservations about some of his dogmatic views, Marsalis has created genuinely compelling music. Many consider his solo on “Fuller Love” from the Jazz Messengers’ live album Keystone 3, recorded when Marsalis was just 21, to be a highlight of his early, more uninhibited playing. These early recordings showcase some incredible “trumpet songs”.
Standard Time, Vol. 1 arguably provides the most accessible entry point to Wynton Marsalis’s artistry. The arrangements are sophisticated, and the playing is technically flawless. However, it’s important to remember that he’s interpreting standards, demonstrating his mastery within established forms. Other noteworthy early albums include Black Codes (From the Underground) and Hot House Flowers, both from roughly the same period and showcasing his developing “trumpet songs”. For a demonstration of Marsalis’s unparalleled technical command, Live at the House of Tribes from 2005 captures a fearless Marsalis at his most unstoppable.
10. Dave Douglas – The Infinite (2002)
Essential Track: “Poses”
Dave Douglas has quietly become a monumental figure in modern jazz. His output as a composer is virtually unmatched in contemporary jazz, and he has significantly influenced the 21st-century business model for jazz musicians. However, his profound impact as a trumpet player sometimes goes underappreciated. A close listen reveals that many contemporary trumpet players, even those who haven’t consciously studied Douglas, incorporate elements of his sound into their playing. His influence on “trumpet songs” is subtle but pervasive.
Selecting a single representative album from Douglas’s vast discography is challenging. While Be Still from 2012 is a personal favorite, The Infinite arguably better encapsulates the style that has so profoundly impacted the contemporary jazz scene and the evolution of “trumpet songs”. Other recommended albums include Strange Liberation and Charms of the Night Sky, both offering distinct perspectives on his compositional skills, with Charms of the Night Sky particularly showcasing his adventurous spirit and diverse musical influences, all contributing to his unique approach to “trumpet songs”.
Ten More Essential “Trumpet Songs” Albums:
Woody Shaw – Imagination (1987)
Often considered the first truly “modern” jazz trumpet player, leaving Woody Shaw off the initial list felt like a significant omission. Also explore Larry Young’s Unity, though Shaw’s early style is clearly indebted to Freddie Hubbard. Rosewood is another essential Shaw album, despite its unfortunate album art.
Nicholas Payton, Christian McBride, and Mark Whitfield – Fingerpainting (1997)
This trio recording, featuring trumpet, bass, and guitar performing exclusively Herbie Hancock compositions, is a remarkable display of virtuosity in the realm of “trumpet songs”. Payton was at the peak of his powers during this era. Also check out Payton’s Place.
Avishai Cohen – Introducing Triveni (2010)
Avishai Cohen has created a wealth of exceptional music in various contexts, but his playing with the Triveni trio, featuring Omer Avital and Nasheet Waits, is particularly noteworthy. They have several albums that showcase their unique approach to “trumpet songs”.
Booker Little – Booker Little and Friend (1961)
Booker Little was an exceptional trumpet player and composer who tragically passed away at the age of 23. His potential remains one of jazz history’s greatest “what ifs”. Also listen to Out Front and Eric Dolphy at the Five Spot to hear more of his innovative “trumpet songs”.
Ornette Coleman – The Shape of Jazz to Come (1959 – Don Cherry on trumpet)
Don Cherry holds a crucial position in jazz history as a pioneer of free jazz trumpet. While some may find his tone and approach unconventional, his emotional depth and expressive power are undeniable in his pioneering “trumpet songs”.
Dizzy Gillespie with Sonny Stitt and Sonny Rollins – Sonny Side Up (1957)
Dizzy Gillespie’s unparalleled virtuosity makes him a challenging figure to categorize in a broader discussion of jazz trumpet. His technical command was so extraordinary that, with the exception of Jon Faddis, few trumpet players cite him as a direct influence. However, his music, including his “trumpet songs”, is undeniably joyful, energetic, and brilliant.
Oscar Peterson – Oscar Peterson Trio + One (1964 – Clark Terry on trumpet)
Clark Terry’s playing is characterized by joyfulness and exceptional polish. Often underappreciated, this album provides an ideal showcase for his distinctive style and his contribution to “trumpet songs”.
Kenny Wheeler – Angel Song (1997)
While Angel Song is a personal favorite, any of Kenny Wheeler’s classic albums are essential listening: Gnu High, Deer Wan, Double Double You. Wheeler’s significance as a composer is perhaps even greater than his impact as a trumpet player, but these albums are indispensable for anyone studying “trumpet songs” and modern jazz.
Joe Henderson – Page One (1963 – Kenny Dorham on trumpet)
Kenny Dorham, while sometimes overshadowed by his contemporaries, is a vital voice in jazz trumpet. Page One features enduring standards like “Blue Bossa” and “Recorda Me,” along with other tracks showcasing Dorham’s exceptional playing and his contributions to “trumpet songs”.
Ingrid Jensen’s playing on big band albums
This final recommendation is a slight deviation, but Ingrid Jensen is arguably the greatest big band trumpet soloist of our time. Hear her on Maria Schneider’s Sky Blue (“The Pretty Road”) and Concert in the Garden (“Pas De Deux”), Darcy James Argue’s Infernal Machines (“Transit”), and her sister Christine’s album Treelines to experience her mastery of “trumpet songs” in a large ensemble setting.
