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The Penguin Guide to Jazz on CD
Reviews jazz recordings and includes biographical details and lineups.
1728 pages, Paperback
First published January 1, 1992
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Displaying 1 - 30 of 32 reviews
October 3, 2018
Several years ago, I reviewed the All Music Guide to Jazz. https://www.goodreads.com/review/show...
That guide is over 1300 pages of information and opinion. The Penguin guide is a bit longer but with a smaller format. Not that you should be influenced by just that factor.
Both guides cover over 10,000 separate albums or CDs. Most of them are still available in one format or another. So, it becomes a matter of whether you want to rely on one guide or another.
I prefer the All Music Guide. After several years, I have found reviewers such as Scott Yanow, helpful and reliable. But that may only mean that I find that my taste coincides with theirs.
One difference that is worth noting: It seems to me that in the All Music Guide the ratings are done on the basis of what is great jazz in general. In the Penguin Guide, it appears that the ratings are more oriented toward what is best in a sub-genre such as free jazz or bop. Both approaches are valid.
One other difference that, to me, is significant: The All Music guide comes with charts and essays that help to explain the various jazz genres and great artists. There is no counterpart in the Penguin Guide. 3+*
That guide is over 1300 pages of information and opinion. The Penguin guide is a bit longer but with a smaller format. Not that you should be influenced by just that factor.
Both guides cover over 10,000 separate albums or CDs. Most of them are still available in one format or another. So, it becomes a matter of whether you want to rely on one guide or another.
I prefer the All Music Guide. After several years, I have found reviewers such as Scott Yanow, helpful and reliable. But that may only mean that I find that my taste coincides with theirs.
One difference that is worth noting: It seems to me that in the All Music Guide the ratings are done on the basis of what is great jazz in general. In the Penguin Guide, it appears that the ratings are more oriented toward what is best in a sub-genre such as free jazz or bop. Both approaches are valid.
One other difference that, to me, is significant: The All Music guide comes with charts and essays that help to explain the various jazz genres and great artists. There is no counterpart in the Penguin Guide. 3+*
February 26, 2016
A friend got me this for my last birthday and, flicking through it this morning, I was reminded how excellent it is. A very useful, well organised recourse.
This also gives me an opportunity to do a Top 10 (as of today) Jazz Albums (not in order):
1. The Black Saint and the Sinner Lady - Mingus
2. Coleman Hawkins Encounters Ben Webster
3. In a Silent Way - Miles Davis
4. Live at the Village Vanguard - John Coltrane
5. Smokestack - Andrew Hill
6. The Blues and the Abstract Truth - Oliver Nelson
7. The Trio, Live from Chicago - Oscar Peterson Trio
8. At the Golden Circle, Stockholm - Eric Dolphy
9. A love Supreme - John Coltrane
10. Something by Billie Holiday
This also gives me an opportunity to do a Top 10 (as of today) Jazz Albums (not in order):
1. The Black Saint and the Sinner Lady - Mingus
2. Coleman Hawkins Encounters Ben Webster
3. In a Silent Way - Miles Davis
4. Live at the Village Vanguard - John Coltrane
5. Smokestack - Andrew Hill
6. The Blues and the Abstract Truth - Oliver Nelson
7. The Trio, Live from Chicago - Oscar Peterson Trio
8. At the Golden Circle, Stockholm - Eric Dolphy
9. A love Supreme - John Coltrane
10. Something by Billie Holiday
May 8, 2022
All encompassing. I believe my wife bought me this. Maybe a friend (Roger) had given me a previous edition. This is the gold standard of jazz cd criticism.
February 9, 2015
A book such as this one—1600 pages, containing literally thousands of reviews—seems destined for a certain kind of failure. Like any other large-scale collection of reviews, at least somebody's personal preferences are going to be slighted. And perhaps worse, sometimes a person's preferences won't even be represented at all. Of course, we might view this as an unfortunate but necessary consequence of finitude—both of minds and the books that these minds create. But it shouldn't come as a surprise. And it most certainly doesn't merit any sustained griping on the part of the reader.
Because putting such subjective hang-ups aside, Cook and Morton's tome is an almost impossibly impressive achievement. I mean, when we talk about "quality" in jazz, we necessarily make reference to a multitude of factors. Technique. Inventiveness. Influence. Complexity. Soul. None of which allow for straightforward appraisal. Nor should we forget that "jazz" doesn't constitute a single unified art form, one complete with a single set of defining characteristics. No, jazz is intricate and multifaceted and (historically-speaking) rather convoluted. Yet Cook and Morton manage to represent—with subtlety and fairness, no less—pretty much the whole gamut of sub-genres and movements, from bebop to European free-improv to contemporary traditionalism and beyond.*
Regarding the reviews and ratings themselves, Cook and Morton seem largely unmoved by personal biases and preferences. If anything, the critical pair are maybe even a bit too accommodating in their judgments. With an eye to fairness, they tend to evaluate records qua their respective styles rather than qua jazz or art in general, which means that the reader will invariably come across some rather strange results, like an utterly unimaginative neo-hard bop revivalist garnering the same sort of rankings as Coltrane or Shorter. (In a comparable fashion, grandmaster beer judge Gordon Strong once gave Miller Lite an impressive 43/50 score before adding that he'd personally rather drink a glass of lemonade.)
In any case, Cook and Morton have written a balanced, capacious and almost always perceptive guide to jazz in all its heterogeneous forms. TL;DR: An essential (although maybe not definitive) read for anyone with more than a passing interest in the genre.
* Honestly, the only styles that suffer any sort of serious neglect are jazz-rock and smooth "jazz." But ask yourself, is this really such a bad thing?
Because putting such subjective hang-ups aside, Cook and Morton's tome is an almost impossibly impressive achievement. I mean, when we talk about "quality" in jazz, we necessarily make reference to a multitude of factors. Technique. Inventiveness. Influence. Complexity. Soul. None of which allow for straightforward appraisal. Nor should we forget that "jazz" doesn't constitute a single unified art form, one complete with a single set of defining characteristics. No, jazz is intricate and multifaceted and (historically-speaking) rather convoluted. Yet Cook and Morton manage to represent—with subtlety and fairness, no less—pretty much the whole gamut of sub-genres and movements, from bebop to European free-improv to contemporary traditionalism and beyond.*
Regarding the reviews and ratings themselves, Cook and Morton seem largely unmoved by personal biases and preferences. If anything, the critical pair are maybe even a bit too accommodating in their judgments. With an eye to fairness, they tend to evaluate records qua their respective styles rather than qua jazz or art in general, which means that the reader will invariably come across some rather strange results, like an utterly unimaginative neo-hard bop revivalist garnering the same sort of rankings as Coltrane or Shorter. (In a comparable fashion, grandmaster beer judge Gordon Strong once gave Miller Lite an impressive 43/50 score before adding that he'd personally rather drink a glass of lemonade.)
In any case, Cook and Morton have written a balanced, capacious and almost always perceptive guide to jazz in all its heterogeneous forms. TL;DR: An essential (although maybe not definitive) read for anyone with more than a passing interest in the genre.
* Honestly, the only styles that suffer any sort of serious neglect are jazz-rock and smooth "jazz." But ask yourself, is this really such a bad thing?
June 20, 2016
I bought a couple of the earlier editions simply because I enjoy reading other people's opinions about music. At some point, I got rid of both because I had read all I wanted to and I realized that there wasn't anything much for me to learn there.
The book is probably worth 4 or even 5 stars for someone starting out listening to the music.
But for me, three stars.
The book is probably worth 4 or even 5 stars for someone starting out listening to the music.
But for me, three stars.
September 26, 2009
9th edition: The narrowness of this series of Penguin guides is becoming more & more of a problem, both as jazz expands in directions the authors (now author/editor) finds distasteful and as the point of view of the author seems to become more exaggerated with age. Cook is a man dedicated to jazz as high modernist art, and he is prejudiced against jazz as popular music, dance music or youth-oriented music.[return][return]To me, this has become a serious defect in the guide. BUT, this is still the best guide to jazz recordings in many respects, especially if you share Cook's predilections or if you are a collector of historic jazz from any era.[return][return]Also: the policy of only including CDs in print is self-defeating in a world where the used market makes practically everything available always. [return][return]It is probably long since time that the Cook & Morton's reviews over the many editions were collected on DVD. THAT would get a 5-star review from me.
June 7, 2007
First they do an edition (the seventh one) without the index, which was a major mistake and pissed everbody off. Then they do the following edition (this one, the eighth) including the index but omitting albums they don't consider "essential."
Mssrs Morton and Cook: Make it a two-volume box-enclosed set printed in microscopic print with a drawer and a magnifying glass in it, like the OED, (that way you can include reviews of albums that are out of print, which you frustratingly leave out) but stop futzing with the basic format!
Mssrs Morton and Cook: Make it a two-volume box-enclosed set printed in microscopic print with a drawer and a magnifying glass in it, like the OED, (that way you can include reviews of albums that are out of print, which you frustratingly leave out) but stop futzing with the basic format!
November 2, 2018
Pity, I don't own this anymore. I really enjoyed exploring and learning about the world of Jazz recordings (especially the classics) back in my teens.
December 3, 2012
In this 8th edition, Frank Zappa is conspicuously absent, though his handpicked ensemble members are seen in several entries. British jazz seems to have been largely ignored, although is perhaps beyond the scope of the list. I thought Ravi and Alice Coltrane's work were unfairly treated -- Alice's taken out of context and marginalized, and Ravi's snubbed. Though, as a more experienced listener, a book this big was a blast to browse, even if I was irritated after disagreeing with some of the reviews. I came to jazz as an outsider and primarily a listener, so it's inevitable that I will have a different perspective than reviewers closer to the music. But here I also detect the recurrence of widespread biases present in so much other jazz writing. Sometimes I feel jazz writing is like a bad group improvisation where everyone jumps in line behind the first guy to find something. Whatever you do, don't fall prey to the notion that it is wise to make your purchasing or listening decisions based on what you read in the Penguin guide (or anywhere else). Follow your ears, follow your heart, and draw your own conclusions. It's best to listen to the stuff cold and let it speak for itself. That being said, there are some good insights here, and the sheer volume of material that is listed makes it an attractive item, indeed.
March 27, 2020
THE PENGUIN GUIDE TO JAZZ RECORDINGS by Richard Cook and Brian Morton is a treasure trove of valuable information about every important jazz recordings and vinyl & CD release ever made, and incidentally this ninth edition I was able to take out on loan from a statewide library loan system (MeLCat) is the best version of this book that I’ve read, having read others; including the eighth edition which I was fortunate enough to locate in “as new” condition for a very reasonable price (as both editions are highly desirable by jazz collectors).
Highly recommended for anyone who is putting together a collection of the most important jazz recordings ever made, and those wanting to find recommendations for the best edition of each will be able to find everything they need (and more) to explore the world of jazz.
5 stars.
Highly recommended for anyone who is putting together a collection of the most important jazz recordings ever made, and those wanting to find recommendations for the best edition of each will be able to find everything they need (and more) to explore the world of jazz.
5 stars.
December 3, 2007
The Penguin Jazz Guide series is an indespensible reference for anyone who is interested in Jazz. Throughout the editions (I own most of them) the editors have kept up the strong review process for most in print jazz albums. A few reasons I really enjoy the PJG --
1. They list the date the album was issued
2. They list complete personnel for each album
3. They give essential ratings and review information for each album
4. Over the editions the editors views on certain albums change (albums fall in and out of
favor)
5. Non-American jazz is well represented
6. Covers all genres, although smooth jazz does not get much coverage (thank goodness)
Pick up any edition and be prepared to spend hours flipping through the thousands of pages and discovering new music.
1. They list the date the album was issued
2. They list complete personnel for each album
3. They give essential ratings and review information for each album
4. Over the editions the editors views on certain albums change (albums fall in and out of
favor)
5. Non-American jazz is well represented
6. Covers all genres, although smooth jazz does not get much coverage (thank goodness)
Pick up any edition and be prepared to spend hours flipping through the thousands of pages and discovering new music.
March 4, 2010
This book is a monster! This 8th Edition contains over 14,000 reviews, over 2,000 new discs added and more than 400 new artists added. The 4 star rating system is clever and I love the addition of the "Core Collection" which tells you which one's should be in your "Core Collection". A great reference before you buy that next jazz disc and something to pour over for hours. However, I couldn't help but notice that they didn't include Carol Welsman, which has released a few vocal CD's and is fairly popular at present.
May 2, 2022
For many years the third edition of this (plus Tom Hull reviews) were my guiding light through the unbelievably dense maze of modern jazz recordings. But the 9th edition is significantly improved and adds thousands of newer entries. Couldn't recommend it more. Keep in mind, they are most at home when reviewing more recent (1970s and onwards) free jazz and improvisational bands, so some of their core/crown selections for older pieces doesn't exactly make sense. Even still, for the most part this is an incredibly daunting task done right and will serve frequent consumers excellently.
January 24, 2008
I haven't read a book of music reviews since Spin's guide to Alternative Music that came out in the early 90's. I still go back to that thing (somehow, it maintains relevance) and this one will always be the place I go when I want to find a little out about someone I've heard-of but not yet heard. Cook and Morton write only the most essential-seeming information. It works, makes me want to listen to more music.
August 19, 2008
It's not the end-all in Jazz music review guides but one of the best and certainly one to include along with Down Beat reviews, and the handy AMG. I would prefer they stick with the common 5-star system but appreciate the CROWN list.
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June 27, 2026The Penguin Guide to Jazz on CD (various editions, often co-authored with Brian Morton) by Richard Cook is a landmark reference work that has served as the gold standard for jazz enthusiasts, collectors, and critics for decades.
OverviewFirst published in the late 1980s/early 1990s (initially covering CDs, LPs, and cassettes), the guide evolved through multiple editions, with later ones focusing primarily on CD recordings. Richard Cook, a respected British jazz critic, teamed with Brian Morton to produce comprehensive, opinionated reviews of thousands of jazz albums. Cook passed away in 2007, but the series continued for a few more editions under Morton.
The book functions as an encyclopedic directory: alphabetical by artist, with discographical details, line-ups, recording information, and concise critical assessments. Ratings typically use a star system (up to four stars, with occasional "crown" designations for masterpieces), making it both a shopping/listening guide and a critical companion.StrengthsAuthoritative and Engaging Writing: Cook and Morton’s reviews are insightful, witty, and deeply knowledgeable without being overly academic. They blend historical context, musical analysis, and personal enthusiasm (or skepticism). Their British perspective adds a refreshing, sometimes irreverent tone compared to American-centric guides.
Breadth: It covers the full spectrum of jazz—from early New Orleans and swing to bebop, post-bop, free jazz, fusion, and contemporary artists. It’s invaluable for navigating the massive catalog of reissues and compilations.
Practical Utility: For anyone building a collection or exploring beyond the basics (Coltrane, Miles, Ellington), it answers key questions: Is this reissue worth it? What’s the essential Monk album? How does this live set compare? Many users describe it as a constant companion and “essential reading,” even when they disagree with specific ratings.
Historical Value: Earlier editions capture the CD boom era and evolving reissue landscape, offering a snapshot of jazz discography at different points in time.
CriticismsSubjectivity and Disagreements: Like any strong critical guide, it provokes debate. Some readers find certain omissions, over-ratings, or under-ratings frustrating. Later editions faced complaints about editing issues or shifts in emphasis after Cook’s passing.
Dated Nature: Since jazz reissues and new releases continue unabated, any physical edition eventually becomes incomplete. The massive scope also means some entries are briefer than dedicated fans might like.
Physical Bulk: Later editions are hefty tomes—not ideal for casual browsing but perfect as a desk reference.
Who Should Buy It?Serious jazz listeners, record collectors, musicians, or anyone tired of scattered online opinions will find it indispensable. Casual fans might prefer lighter guides or the later, more selective Penguin Jazz Guide (the 1001 best albums version). If you’re picking one, earlier-to-mid editions (e.g., 5th–8th) often get praised for their balance and spark.
Final VerdictThe Penguin Guide to Jazz on CD is more than a buying guide—it’s a passionate chronicle of the music’s recorded legacy. Richard Cook’s legacy lives on in its pages as an essential, opinionated roadmap through one of the 20th century’s richest art forms. Infuriating at times, but always illuminating. For dedicated explorers, it remains a treasured (if occasionally argued-with) resource.
Rating: 4.5/5 — A classic that belongs on every jazz lover’s shelf.
OverviewFirst published in the late 1980s/early 1990s (initially covering CDs, LPs, and cassettes), the guide evolved through multiple editions, with later ones focusing primarily on CD recordings. Richard Cook, a respected British jazz critic, teamed with Brian Morton to produce comprehensive, opinionated reviews of thousands of jazz albums. Cook passed away in 2007, but the series continued for a few more editions under Morton.
The book functions as an encyclopedic directory: alphabetical by artist, with discographical details, line-ups, recording information, and concise critical assessments. Ratings typically use a star system (up to four stars, with occasional "crown" designations for masterpieces), making it both a shopping/listening guide and a critical companion.StrengthsAuthoritative and Engaging Writing: Cook and Morton’s reviews are insightful, witty, and deeply knowledgeable without being overly academic. They blend historical context, musical analysis, and personal enthusiasm (or skepticism). Their British perspective adds a refreshing, sometimes irreverent tone compared to American-centric guides.
Breadth: It covers the full spectrum of jazz—from early New Orleans and swing to bebop, post-bop, free jazz, fusion, and contemporary artists. It’s invaluable for navigating the massive catalog of reissues and compilations.
Practical Utility: For anyone building a collection or exploring beyond the basics (Coltrane, Miles, Ellington), it answers key questions: Is this reissue worth it? What’s the essential Monk album? How does this live set compare? Many users describe it as a constant companion and “essential reading,” even when they disagree with specific ratings.
Historical Value: Earlier editions capture the CD boom era and evolving reissue landscape, offering a snapshot of jazz discography at different points in time.
CriticismsSubjectivity and Disagreements: Like any strong critical guide, it provokes debate. Some readers find certain omissions, over-ratings, or under-ratings frustrating. Later editions faced complaints about editing issues or shifts in emphasis after Cook’s passing.
Dated Nature: Since jazz reissues and new releases continue unabated, any physical edition eventually becomes incomplete. The massive scope also means some entries are briefer than dedicated fans might like.
Physical Bulk: Later editions are hefty tomes—not ideal for casual browsing but perfect as a desk reference.
Who Should Buy It?Serious jazz listeners, record collectors, musicians, or anyone tired of scattered online opinions will find it indispensable. Casual fans might prefer lighter guides or the later, more selective Penguin Jazz Guide (the 1001 best albums version). If you’re picking one, earlier-to-mid editions (e.g., 5th–8th) often get praised for their balance and spark.
Final VerdictThe Penguin Guide to Jazz on CD is more than a buying guide—it’s a passionate chronicle of the music’s recorded legacy. Richard Cook’s legacy lives on in its pages as an essential, opinionated roadmap through one of the 20th century’s richest art forms. Infuriating at times, but always illuminating. For dedicated explorers, it remains a treasured (if occasionally argued-with) resource.
Rating: 4.5/5 — A classic that belongs on every jazz lover’s shelf.
August 31, 2017
I have three different editions of this book.
May 12, 2019
perfect for finding new music but there's no index which is mad annoying
August 4, 2024
awesome!
February 28, 2008
Cook and Morton know their shit. Maybe someday I will have all the Brotzmann and Sun Ra stuff they expound upon. Until then, the comprehensive reviews in this book never leave you for lack of finding adventure in music.
December 1, 2009
The reviews were great.
They matched my opinions on many of the albums, which allowed me to trust their reviews on artists and albums I have yet to listen to.
It's a fantastic book to have around for any jazz enthusiast.
They matched my opinions on many of the albums, which allowed me to trust their reviews on artists and albums I have yet to listen to.
It's a fantastic book to have around for any jazz enthusiast.
January 19, 2015
When I decided I wanted to learn more about jazz, this book became a constant companion. It helped me to build an excellent, eclectic collection. I still refer to it from time to time. Recommended to anyone who wants to learn and get introduced to the full scope of jazz recordings.
May 16, 2015
A constant companion in exploring jazz. Infuriating, annoying but absolutely essential reading from two guys who love their jazz. This will never make it to my "read" section, I have the fifth edition and refer to it constantly.
January 12, 2008
The Bible for jazz listeners. Everything you need to construct a respectable collection of jazz albums.
April 17, 2008
Indispensible bathroom reading. It was the catalyst in building the majority of my record collection.
November 16, 2010
Andatevi a leggere il commento sulla Penguin Guide di musica classica, inutile riscrivere le stesse cose! Quando chiudo una apro l'altra, solo l'umore del momento mi guida nella scelta.
May 13, 2011
Excellent guide to find you way to the massive amount of Jazz releases. Of course there's your favourite records which are not listed here. But that's why they are your favourites, right?
October 27, 2013
De Jazz Bijbel
June 23, 2014
Looks good on the bookshelf.
March 17, 2015
Part encyclopedia, part buyer's guide (this book has cost me far more than the cover price), this chubby tome deserves its three inches of space on every serious jazz lover's bookshelf.
Displaying 1 - 30 of 32 reviews