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A beautiful package of work from trumpeter Clifford Brown – his complete Emarcy master takes for work with three key singers in the 50s – Helen Merrill, Sarah Vaughan, and Dinah Washington! Brown's trumpet has a fluid, soulful style that's easily one of the most modern of the time – which makes for a really striking accompaniment for all vocalists included – especially Washington, who really breaks out from her bluesier modes on the Clifford Brown sides – making an argument here that the trumpeter really helped take her singing to the next level! The lavish 3CD package is in a cool 7" book-style cover, with a really beautiful full color book inside – and the set features a huge amount of work with Washington (2 of the 3 CDs) – with titles that include "No More", "I've Got You Under My Skin", "What Is This Thing Called Love", "Lover Come Back To Me", "I'll Remember April", and some ballad medley tracks from a jam session. The last CD features work with Sarah Vaughan and Helen Merrill – titles that include "April In Paris", "He's My Guy", "Jim", "I'm Glad There Is You", "I'm Crazy", "You'd Be So Nice To Come Home To", "Falling In Love With Love", and "Yesterdays".

Brilliant work by the team of Clifford Brown and Max Roach – a seminal hardbop album that was one of the few to bridge the east and west coast scenes! The set was recorded in LA under the joint leadership of Brown and Roach – and features the classic quintet lineup that included Harold Land on tenor, Richie Powell (Bud's brother!) on piano, and George Morrow on bass. The mix of Roach's heavy full-on drumming and Brown's lyrical beauty is beyond compare – and Land's angular and sensitive tenor lines provide a perfect link between the two. Titles include classics like "Parisian Thoroughfare", "The Blues Walk", "Daahoud", "Jordu", and "Joy Spring".

A great early demonstration of the bold talents as a leader from trumpeter Maynard Ferguson – heard here in a loose, open-ended performance that's more of a jam session than anything else! The style's almost similar to the Clifford Brown jam dates for Emarcy from the same time – two long tracks that are driven by well-crafted rhythms – and which really soar with open solo work from Ferguson on trumpet, Bud Shank on alto, Bob Cooper on tenor, and Bob Gordon on baritone. The work is nicely boppish and a fair bit more open than most of the players were getting at the time – and Maynard himself is often back a far bit to let everyone get in some good solo space! Each track lasts a side – and titles include "Night Letter" and "Somebody Loves Me".

A pair of 60s gems – together on a single CD! First up is the original Jazz Goes Baroque from George Gruntz – one of the best blends of jazz and classical music we can think of! Sure, the tunes are from Corelli, Handel, Pachelbel, and other baroque composers – but they're taken to hip jazzy territory here in the hands of pianist George Gruntz – who plays some mighty cool electric harpsichord on the set! The sound's more like a 60s soundtrack swing than any staid sort of longhair classics – thanks in part to great work from Klaus Doldinger on soprano sax, and Emil Mangelsdorff on flute – plus swinging rhythms from the team of Peter Trunk on bass and Klaus Weiss on drums. The horns bring in a sense of depth and soul to the record that's missing from other dates of this nature – especially trio sets, like those of Jacques Loussier – and titles include "Corrente", "Pavana", "Gavotte En Rondeau", "Le Croc En Jambe", and "Musette En Rondeau". Jazz Goes Baroque Vol 2 is a wonderful follow-up to George Gruntz's first album of baroque jazz grooves from the 60s – one that focuses on melodies from Italian composers – recast here by Gruntz with some very swinging styles! The roots may be classical, but the end result is pretty darn groovy all the way through – in a space between mod 60s soundtracks and some of the more lyrical jazz on the European scene – with some especially great reed work from Leo Wright, Sahib Shihab, and Raymond Guiot! George Gruntz plays this extra-cool electric harpsichord – which further enforces a 60s vibe – and rhythms are from Peter Trunk on bass and Daniel Humair on drums. Tracks include "Sarabande", "Aria", "Lamento D'Arianna", "Allegro", and "Danza Danza Faniculla".

Charlie Haden and Hank Jones reunite as a duo – working through a set of songs with spiritual sources, in ways that really seem to unlock the warmest elements of both players! Jones is no stranger to this sort of mode, especially in later years – and his gentle, spacious touch on the keys of the piano is a real change from some of the heavier modes you might have heard when these tunes were played along with a choir. But the real revelation is possibly Haden – who hits some of his most evocative, sentimental sounds in years – a great reminder of the ways that he could always paint such a pretty picture with his basslines when he wanted. Titles include "Deep River", "The Old Rugged Cross", "Down By The Riverside", "Going Home", "Blessed Assurance", "Come Sunday", and "Nearer My God To Thee".

Beautifully understated work from trumpeter Roy Hargrove – an open, laidback session that's easily one of the best he's done in years! Gone are the urban sounds of his RH Factor records, and the more cerebral modes of some of his other jazz sets – and instead, this time around Roy's hitting a warm, fluid groove with plenty of classic overtones and a wonderfully soulful feel! The album's one that would settle in nicely along some of Freddie Hubbard's best later work, and it features a strong quintet with Justin Robinson on alto and flute, Gerald Clayton on piano, Danton Boller on bass, and Montez Coleman on drums. Roy plays flugelhorn as well as trumpet, and titles include "I'm Not So Sure", "Strasbourg/St Denis", "Starmaker", "Joy Is Sorrow Unmasked", "Mr Clean", "Rouge", "Style", "Divine", and "To Wisdom The Prize".

Bits of jazz and bits of soul, perfectly folded together with a raspy brilliance that really grabs our attention – a subtle depth of singing that almost takes us back to Nina Simone at times, but which also has some leaner 21s Century styles that are mighty nice too! Malia's vocals alone are plenty great – but the album's also got these great gentle instrumentations – bits of vibes, organ, guitar, and drums – used in simple ways that almost have a Brownswood Recordings sort of vibe – as if this record were a female equivalent to Jose James' great work for that label! Titles include loads of Nina Simone numbers – and tracks include "Four Women", "If You Go Away", "Don't Explain", "Baltimore", "Feeling Good", "Wild Is The Wind", and "Marriage Is For Old Folks".

Quite possibly THE key example of the magic of Clifford Brown and Max Roach on record – a brilliant studio session that really has the group "incorporating" their sound – forging a bold musical statement that would forever leave its imprint on jazz for years to come! The format here shows Brown and Roach as a key force in 50s hardbop – extending Max's bop idiom of years back, and using Clifford's more lyrical approach to solo work to expand the tone, color, and spirit of their music – linking styles and worlds wonderfully, and forging a sound that's tight, yet also beautifully spontaneous and personal. The rest of the group includes Harold Land on tenor, Richie Powell on piano, and George Morrow on bass – and titles include "Sweet Clifford", "Ghost Of A Chance", "Stompin At The Savoy", "I'll String Along With You", "Mildama", "Darn That Dream", and "I Get A Kick Out Of You".

Brilliant work by the team of Clifford Brown and Max Roach – a seminal hardbop album that was one of the few to bridge the east and west coast scenes! The set was recorded in LA under the joint leadership of Brown and Roach – and features the classic quintet lineup that included Harold Land on tenor, Richie Powell (Bud's brother!) on piano, and George Morrow on bass. The mix of Roach's heavy full-on drumming and Brown's lyrical beauty is beyond compare – and Land's angular and sensitive tenor lines provide a perfect link between the two. Titles include classics like "Parisian Thoroughfare", "The Blues Walk", "Daahoud", "Jordu", and "Joy Spring".

One of the best albums we've heard from Djavan in years – a record that takes the singer to a whole new place, and a sound with a wonderfully jazzy finish! Djavan arranged and produced the set himself, and he's somehow found a way to really stretch out after all these years – working with backings that are as fresh as some of his hipper contemporaries from the older MPB years – lean, clean, and never overproduced – served up in ways that really seem to bring out a soulful energy that we haven't heard from Djavan in years! Many tunes have these nice blue-tinged changes – an undercurrent of sadder soul, even when things are groovy – and the album's one that definitely has us really renewing our respect for Djavan. Titles include "Triste E O Cara", "Ja Nao Somos Dois", "Reverberou", "Rua Dos Amores", "Vive", "Pode Esquecer", and "Ares Sutis".

Some of the most important recordings in the career of Sarah Vaughan – rich package of albums that really helped her refine her style strongly, and unlock an approach to jazz that nobody else could touch! Vaughan had always been a great singer, no matter what the setting – but here, she takes things a strong step forward – by mixing instrumental inspiration with careful lyrical delivery, all at a level that's quite different than Billie Holiday, Ella Fitzgerald, or any other contemporaries! Vaughan's got this mature approach that's never overdone, and never tries to call too much attention to itself – even though Sarah's singing in ways that are technically mindblowing, and set to the kinds of backings that never would have been so subtle a few years before. The beautiful package is a 7" square book – with heavy hardcovers, and lots of color images on the many pages inside – plus four CDs nestled alongside the words – containing the full albums Images, In The Land Of Hi Fi, Sarah Vaughan, At Mister Kelly's, After Hours At The London House, and No Count Sarah – plus 11 bonus tracks added to the Mister Kelly's album, and 5 more bonus tracks from the Swingin Easy record as well. 72 tracks in all – in a really lovely package!

A jazz vocal masterpiece from Sarah Vaughn – one of her greatest albums ever, and a record that raised the bar for countless vocal sessions in years to come! Sarah's working here in an intimate group arranged by Ernie Wilkins, and featuring some sublime solo work from Clifford Brown, Paul Quinichette, and Herbie Mann – alongside rhythm from the trio of Jimmy Jones, Joe Benjamin, and Max Roach. Sarah's vocals are incredible – curving, turning, and lilting with a tremendous amount of jazz-based inflection – and titles include "Lullaby Of Birdland", "April In Paris", "September Song", "He's My Guy", and "I'm Glad There Is You".

Organist Rhoda Scott takes on the Bach jazz groove of the French jazz scene – using her Hammond with just a bit of drums in the background, all in a style that's pretty darn spacious, and which shows a tremendous command of the instrument! Given the setting, there's certainly some echoes of pipe organ work in Scott's tones – but as on her other albums of the time, she still manages to swing at the right moments, which usually kick in as the tunes roll on! Most numbers mix up an initial theme from Bach with a groovier contemporary song – in ways that make for a pop/classical medley mode that's quite unique. Titles include "Symphonie Du Noveau Monde/Sitting On The Dock Of The Bay", "Prelude En Sol Mineur/Moanin", "Toccata En Re Mineur/Les Feuilles Mortes", and "Prelude En Si Bemol Majeur/The Preacher".

One of the grooviest albums ever from organist Rhoda Scott – a hip, double-length set recorded at the Club Saint Germain in Paris – often with a good deal of funk in the mix! Rhoda's working here in a slightly expanded version of her usual format – her own Hammond organ in the lead, plus drums from Cees Kranenburg and tenor sax from Leo Johnson – the last of which makes for a wonderful addition to the groove! Most tracks are quite long, and build with a good sense of energy – almost jamming at times, with the drums used much more heavily than on other Scott albums. And Johnson's sax is great too – bringing in a sharper edge that really deepens the soul, and helps show a side of Rhoda that wasn't always caught on record at the time. Titles include a killer 18-minute version of War's "Slipping Into Darkness", a funky take on "Also Sprach Zarathustra (2001)", and the originals "Espoir", "Floor Lip", "Le Saint Germain", and "Nyugi-Nyugi".

Beautiful ballads from the mighty Don Byas – working here in a rare Paris session with backings from arranger Jacques Denjean! Denjean really brings a great spirit to the set – subtle strings that flow nicely in the background, in a manner that's similar to some of the best Verve "with strings" sessions in the US during the 50s – never too sleepy, and always with plenty of room for Byas to do his thing in the lead! Don's tone is wonderful, and he gets some great support in the group from players who include Georges Arvanitas on piano, Ivan Jullien on trumpet, Raymond Guiot on flute, and Nat Peck on trombone. Titles include "Misty", "Autumn In New York", "April In Paris", "Laura", "My Funny Valentine", and "Don't Blame Me".

Spirit, swing, and a whole lot more – a mighty collection of music all hand-picked by the legendary Nicola Conte! There's a deeply soulful groove to the whole thing – and a touch of the exotic as well – and the package really reminds us a lot of the great Gilles Peterson Universal collections that were out a few years back – full of deep tones and rich colors, and proof that when you've got the right guy at the helm, a collection of older jazz tracks can be way more than just the sum of its parts! In addition to Universal label work – originally issued on Decca, Emarcy, and other labels – the package features some Fantasy/Prestige tracks too – including some great gems we might have missed otherwise. Almost 75 minutes of music – with titles that include "Taboo" by Dorothy Ashby, "New Delhi" by James Clay, "Big P" by New Jazz Orchestra, "Juan-Les-Pins" by Staffan Abeleen, "Subo" by Klaus Weiss, "Spanish Castles" by George Gruntz, "Modette" by Roy Haynes, "My Favorite Things" by Sound Of Feeling, "Jungle Fantasy" by Yusef Lateef, "Feeling Good" by Pat Bowie, "The Hooter" by Ernie Wilkins, "Afro Blue" by Abbey Lincoln, "Bogota" by Ahmad Jamal, and "Baltimore Oriole" by Lorez Alexandria.