The new party ready banger finds the talented bay singersongwriter and the 707 icon explaining that anything theyre involved with, theyve got a surplus of.

Whether it be the stacks, the drip, the whips, or the ladies, theyve always got more than enough Check the dope collab from Derek King x E-40 2 Much right here, and show some love by grabbing the single over on iTunes.

All the material was written by rising composerarranger Neal Hefti, and features some dynamite brass charts.

With such a variety of styles to choose from and no shortage of musicians who have contributed several groundbreaking works to the development of jazz it quickly becomes clear that a mere handful of artists, or subgenres, could easily dominate the list.

Hopefully this means our selections are as rich, varied and perhaps surprising as the history of jazz itself.

Dubbed The High Priest Of Bop, his idiosyncratic music, with its advanced musical vocabulary of asymmetrical melodies and dissonant cluster chords, was deemed too outr for mainstream tastes.

But then Alfred Lion of Blue Note Records heard Monk, recognised his unorthodox brilliance, and began recording singles with him in 1947.

In Four years later, in 1951, Lion issued Monks first album, Genius Of Modern Music, which was followed by a second volume in 1956 (by which time Monk was recording for Riverside).

Blue Note battled to get Monks music to a wider audience but without much success.

Nevertheless, his two albums for the company were significant to the evolution of modern jazz.

They also capture him at a notable juncture in his career, when he was developing his unique musical concepts.

Though Basies Decca tenure was short, it was incredibly fertile, resulting in the hits Honeysuckle Rose and Pennies From Heaven.

His band at the time included Lester Young, Freddie Green and Jo Jones, as well as vocalists Jimmy Rushing and Helen Humes.

Heavily influenced by the complex language of bebop, in the late 40s Powell transposed the innovations of Charlie Parker and Dizzy Gillespie onto the piano.

Compiled from recordings made in 1949 and 1950, The Amazing Bud Powell was the pianists first album, and it came out in 1952 when he was 28.

The album, which also featured a 19-year-old Sonny Rollins, is one of the best jazz albums by a pianist; it tore up the rule book and served as a memorable introduction to a phenomenal musical talent.

Like Shorter and Zawinul, Pastorius was a gifted composer, and his tunes Teen Town, a funky vehicle for outrageous bass pyrotechnics, and Havona, a superb ensemble piece, highlight his growing maturity as a jazz conceptualist.

But it was Zawinuls chirpy opener, Birdland, that earned the most plaudits and became the groups most widely-known tune, spawning many cover versions.

Arguably the most perfect of Weather Reports 14 studio albums, Heavy Weather remains one of the best jazz albums of the fusion era.

Its a perfectly preserved document capturing Coltrane during his six-month tenure with Monk, which came after Miles Davis had fired him earlier in the year (and two months after the saxophonist had recorded his Blue Train album).

Both men, supported by bassist Ahmed Abdul-Malik and drummer Shadow Wilson, are at the peak of their respective creative powers, with Coltrane navigating Monks tricky melodies and unorthodox chord changes with consummate ease.

During his 28-year stint with Blue Note he produced many fine albums, but few as truly satisfying as Song For My Father, whose immortal title track is defined by infectious horn motifs and a loping intro (famously borrowed by Steely Dan for their 1974 hit Rikki Dont Lose That Number).

Recorded in three separate sessions between 1963 and 64, the album featured two different incarnations of Silvers quintet, though its the four songs by the newer line-up (featuring trumpeter Carmel Jones and saxophonist Joe Henderson) that impresses the most.

Arguably the best of his LPs during his first tenure with the label when he played hard bop Idle Moments was recorded in 1963 and finds Green leading a sextet that includes tenor saxophonist Joe Henderson, pianist Duke Pearson (who composed two of the songs on the album, including the sublime but subdued 14-minute title tune) and vibraphonist Bobby Hutcherson.

Unlike some guitarists, Green never tried to overpower the listener with elaborate or flashy runs but preferred to pick out single-note melodies that stayed within the boundaries of good taste.

In an age when big bands were mostly extinct, the release of The Complete Atomic Basie marked a resurgence in the fortunes of the debonair pianist from Red Bank, New Jersey.

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