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A massively expanded package of music – filled with previously unreleased gems! The 2CD set features a landmark collaboration between John Coltrane and Thelonious Monk – two generations of jazz modern, working here to create some really incredible music! The core of this material is from the pair's work issued on the amazing Monk's Music album for Riverside – but the expanded collection also features lots of additional work from the same period too – including some unusual and alternate studio moments too! Other players vary from track to track – and include Gigi Gryce on alto sax, Ray Copeland on trumpet, Coleman Hawkins on additional tenor, Wilbur Ware on bass, and Art Blakey on drums. Titles wonderful versions of "Ruby My Dear", "Trinkle Tinkle", "Nutty", "Well You Needn't", "Crepescule With Nellie" and "Monk's Mood" – plus some alternate versions, false starts, and more – all wrapped up with notes and reflections from original producer Orrin Keepnews.

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

A pair of classics from guitarist Charlie Byrd – back to back on a single CD! First up is Latin Impressions, a set that's more Brazilian than Cuban – and maybe a bit Spanish, too – given the strong use of acoustic guitar from Charlie Byrd! The set's got a laidback, open feel – and Byrd's guitar work is mighty deft, yet without all the frills and flowers of some of the more dramatic, emotive players of the time – a great illustration of the huge shift that the early bossa guitar recordings had at a global level. Byrd was one of the first big American proponents of bossa, and you can definitely hear that influence at work here – amidst additional guitar from Gene Byrd, bass from Keter Betts, and drums from Bill Reichenbach. A few tunes feature Charlie on solo guitar with no backing – and titles include "O Pato", "Homage A Villa Lobos", "Bogota", "Vals", "Samba De Uma Nota So", "Amor Flamengo", and "Azul Tiple". Bossa Nova Pelos Passaros is a landmark, as guitarist Charlie Byrd was one of the first American players to record bossa nova tunes – but although his work with Stan Getz has always been well-documented, some of the titles under his own name can be quite hard to come by. This is one of the best ones that Charlie cut on his own – and it features tight guitar work in a mode that's similar to that used by Baden Powell on his early bossa recordings, augmented by trio rhythms – plus some occasional larger backings by Walter Raim, and some extended group settings that feature Charlie Hampton on alto, Earl Swope on trombone, and Willie Rodriguez on percussion. Tracks include "Ho Ba La La", "Samba Triste", "Yvone", "O Barquinho", "Un Abraco Do Bonfa", and "O Passaro".

A soul jazz Latin classic – one that matches the searing tenor work of Eddie Lockjaw Davis with the hard-hitting conga of a young Ray Barretto! The core group of the set is a soul jazz one – with Lockjaw blowing over rhythm by Lloyd Mayers on piano, Larry Gales on bass, and Ben Riley on drums – plus a small added trumpet section on a few tracks. Ray comes into the mix with some really tight percussion on the bottom, aided by a few other players at times – kicking up the tunes and giving them a lot of fire – something that Davis seems to really respond to in his horn. Thanks should also be given to arranger Gil Lopez, who put together the overall sound of the set – and the album's a hard groover all the way through, filled with Latin jammers like "Wild Rice", "Jazz-a-Samba", "Guanco Lament", "Afro Jaws", and "Tin Tin Deo".

Classic early work from Kenny Dorham as a leader – a brilliant set that sparkles with modern touches! The group's a quartet that pairs Kenny's trumpet with the alto sax of the late Ernie Henry – a perfect accompanist that brings out both the brightness in Kenny's horn, and the edgier touches that made him one of the most exciting trumpeters to appear in the 50s scene. The rest of the group features GT Hogan on drums and Wilbur Ware or Eddie Mathias on bass – and the session's got a great reading of Kenny's classic "Lotus Blossom", plus the tracks "Jazz Classic", "Noose Bloos", "The End Of A Love Affair", and "Soon". CD also features a bonus track – an alternate take of "Sposin".

Familiar numbers – but done quite nicely, thanks to the warm early talents of Kenny Drew! The style here is a bit more lyrically evocative than some of the other Riverside piano work of the time – less modern-tinged, but still in a really expressive way that unlocks new corners of these great numbers from the original Rogers & Hart score to the musical Pal Joey! Drew's compadres for the session are Wilbur Ware on bass and Philly Joe Jones on drums – both of whom help illuminate the tunes with sly, but subtle touches. Titles include "Bewitched, Bothered & Bewildered", "Happy Hunting Horn", "What Is A Man?", "Do It The Hard Way", "I Could Write A Book", and "My Funny Valentine".

A key album in the reintroduction of Coleman Hawkins in the late 50s – recorded in a style that still bears a lot of traces of earlier years, but at a time when Hawk was being claimed as a key influence by a variety of younger modernists! The set's got a sense of freedom that's really surprising – especially on the longer numbers, which unfold with some playful instrumental twists that seem to come especially from trumpeter Idrees Sulieman and trombonist JJ Johnson – both of whom are great on the record. Other players include Hank Jones on piano, Barry Galbraith on guitar, and Oscar Pettiford on bass – and titles include "Juicy Fruit", "Think Deep", "Blue Lights", "Sanctity", and "Chant".

A sweet larger group session from vibist Milt Jackson – proof that he was really trying to stretch his wings, and get into new things during the 60s! The set's got Milt working with some great help from Tadd Dameron and Ernie Wilkins on larger group arrangements – nicely swinging charts that have a nice touch of modern, but lots of straightforward grooving too! Milt's the primary soloist, buoyed by an orchestra built around a rhythm section of Hank Jones on piano, Ron Carter on bass, and either Connie Cay or Philly Joe on drums – plus loads of great horn players like Clark Terry, Nat Adderley, Melba Liston, James Moody and Jimmy Heath among others. Titles include renditions of "Old Devil Moon", "'Round Midnight", "The Dream Is You", "You'd Be So Nice To Come Home To", "Echoes", "If You Could See Me Now", "Star Eyes", "Namesake", "If I Should Lose You", and "Later Than You Think". CD features 2 bonus tracks!

The title's a great one for the set, as Mundell Lowe was one of the moodiest players of his generation – a great guitarist with a really unique tone – recorded in a perfect setting for the album! The group's a bit unusual, as it features Lowe's guitar next to small combo arrangements that include a bit of flute, bass clarinet, oboe, and English Horn – never crowding in any of the horns at once, but using them bit by bit throughout the album – in order to give a slight edge, and a darker mood, to different tracks as needed. The only other backing in the set is bass and drums – and the use of Lowe's guitar next to these horns makes for a really unique sound, especially for a guitar jazz album of the mid 50s. Titles include "Speak Low", "Ill Wind", "Our Waltz", "I'll Take Romance", "I Dream Too Much", and "Memories Of You".

Think what you want about Chuck and his 70s hits, this version of the Mangione Brothers is a cooker! Chuck is on trumpet, Gap is on piano, and the rest of the group features Larry Combs on alto, Sal Nistico on tenor, Bill Saunders on bass, and Roy McCurdy on drums – all grooving in a nice soul jazz bounce that's clearly influenced by Cannonball Adderley – no surprise, since Cannon produced the set! Titles include the strong originals "Something Different", "Struttin With Sandra", "The Gap", and "Alice".

Blues, but with an undercurrent of New Orleans jazz – no surprise, given the Louisiana roots of Eurreal "Little Brother" Montgomery! The album's a classic set recorded in Chicago in the early 60s – featuring both Montgomery in a spare solo setting, and with help from a small backup group that includes Ted Butterman on cornet, Bob Gordon on clarinet, and Mike McKendrick on banjo. Little Brother plays piano on all numbers, and sings on most – and titles include "44 Vicksburg", "Prescriptions Of The Blues", "Sweet Daddy", "Home Again Blues", "Up The Country Blues", "Saturday Night Function", "Michigan Water Blues", and "Oh Daddy". CD features the bonus track "Cooter Crawl".

A pair of modern moments from George Russell – back to back on a single CD! Stratusphunk is not "phunk", in the way you might think of "funk" – but an album that sets a whole new standard for modern jazz in the 60s – thanks to the fresh ideas of George Russell! Russell's in his best modal mode here – and there's a highly rhythmic construction to most tunes – layers that build beautifully, and which have a sharper edge than some of George's earlier work in the 50s – a balance that's better heard than described by our words, and which is completely compelling right from the start. The vibe is modern, but things still swing beautifully – and players are mostly younger musicians eager to follow Russell's leadership on piano – Dave Young on tenor, David Baker on trombone, Alan Kiger on trumpet, and Chuck Israels on bass. Titles include "Lambskins", "Stratusphunk", "New Donna", "Kentucky Oysters", and "Bent Eagle". Stratus Seekers is key work from the guy who put the "modern" in modern jazz – the great George Russell, heard here in the company of some younger players who definitely help him seek out some new territory in music! The record's got a wonderful balance between sharp edges and swing – a sound that few others could handle so well as Russell – and which bears some links to George's bigger concept albums in the 50s, but comes across with a sound that's much leaner, and which easily makes this record one of the most striking modern sides on the Riverside label at the time! Players are all great – and include Don Ellis on trumpet, Paul Plummer on tenor, John Pierce on alto, and Steve Swallow on bass – plus Russell on piano and Joe Hunt on drums. Titles include "Stereophrenic", "Pan Daddy", "Kige's Tune", and "Blues In Orbit".

Later work from trombonist Albert Wynn – sides cut after a 33 year absence from the recording studio – as part of the excellent Chicago Living Legends series on Riverside! The work has a tight trad jazz feel – but with a bit more space than you might find for solo expression in some of Wynn's earlier, shorter sides – and players include Bill Martin on trumpet (and a bit of vocals), Darnell Howard on clarinet, and either Blind John Davis or Bus Moten on piano. Titles include "Bourbon Street", "How Long Blues", "Ice Cream", "Nobody's Sweetheart", and "In The Evening". CD also features 2 bonus tracks "How Long Blues (alt)" and "I Ain't Gonna Give Nobody Non O This Jelly Roll".

A moodier session than usual for Griff – but in a nice way – and one that's cut with Buddy Montgomery on vibes and piano, and handled in a laidback soul jazz mode that's a refreshing change from some of his sharper hardbop sides! Highlights include the extended original "Slow Burn", plus renditions of the classics "Do Nothing Till You Hear From Me" and "The Midnight Sun Will Never Set". The group's completed by Monk Montgomery on bass and Art Taylor on drums – and in a way, the album sort of feels like one of Monk and Buddy's Mastersounds sessions, with the added touch of a horn player!

An early record by Herbie Mann, and one that offers a nice treat – bass clarinet! Although Herbie made his fame in the 60s with his Latiny flute playing, he was also a darn good bass clarinetist, and he plays both instruments on this rare early session from 1957. The bass clarinet doesn't dominate the whole recording, but when Herbie uses it, he gets an incedible tone – especially next to the baritone of Jack Nimitz, who also plays on the album. Titles include "Professor", "One Morning In May", "Sultry Serenade", and "When The Sun Comes Out".

Pure piano magic from Bobby Timmons – a pair of great albums from his years at Riverside Records! First up is Sweet & Soulful Sounds – a wonderful mellow trio session from Bobby – done with a spare, relaxed approach that's a nice contrast to the recordings he was making for Prestige around the same time – but which still has the same deep, soulful approach to the piano that makes those records so great! Half a dozen trio numbers with Sam Jones and Roy McCurdy are rounded out with two piano solos, "God Bless The Child" and "Spring Can Really Hang You Up The Most" – both of which present Bobby in an especially introspective mode, one you don't hear that often on record! Remaining trio tunes include "The Sweetest Sounds", "Turn Left", "You'd Be So Nice To Come Home To", "Another Live One", "Alone Together", and "Why Was I Born". Born To Be Blue is one of Bobby Timmons' most obscure trio sessions from the early years – recorded at the tail end of the Riverside years, which is probably why the album disappeared so quickly! The set's in a similar format to some of Bobby's other records for Riverside – a trio set with either Sam Jones or Ron Carter on bass, and Connie Kay on drums – but it's different in that Bobby's a bit more introspective – "blue", if you will – working in less of the gutbucket soul jazz mode than before, and really hitting some lyrical magic on the keys! The album includes the original tunes "Know Not One", "Often Annie", and "The Sit In" – plus a great reading of Tom McIntosh's "With Malice Towards None".

One of the rarest albums by this great Texas tenor player – and the kind of album we're very happy to see reissued! This heavy little gem was one of the few sides that Wilkerson cut under his own name – and it was the only one recorded away from Blue Note, as part of Cannonball Adderley's short-lived "Cannonball Presents" series. The core group features Wilkerson's Texas tenor right out front (a lot louder than on the Blue Note sides), set against the piano of Barry Harris, the bass of Leroy Vinnegar, and the drums of Billy Higgins. Nat Adderley plays cornet on a few tracks – and titles include "Jelly Roll", "The Twister", "Morning Coffee", "Idiom", and "Media".

When it comes to soul jazz, you can't get any more classic than this! The title was one of the biggest jazz hits of the 60s – covered by countless other artists, but presented here in all its original brilliance in a group led by its composer, a young Nat Adderley! At the time of the record, Nat was making plenty big waves in the combo of brother Cannonball – but this set has him stepping out strongly as a leader – borrowing Bobby Timmons, Sam Jones, and Louis Hayes from Cannon's group – and also adding in Wes Montgomery on guitar and additional bass and cello work from Keeter Betts and Percy Heath. The tracks are all tight as a drum – and the record features seminal versions of "Work Song" and "Sack O Woe" – as well as the numbers "Scrambled Eggs", "Pretty Memory", and "Fallout" – all great!

A smokin' hard bop side from a sort of amalgamation of players who played in and out of the Jazz Messengers around this time, but Philly Joe's sittin' in the drummers seat, so though the rhythms cook hard, that not quite as bombastic as Bu's. We've always loved Benny Golson, and though his playing was at it's most sublime in the Jazztet, he got to stretch out just a bit more and played with just a touch more fire in other contexts, like this session. Barry Harris is on piano, with Jymie Merritt and Philly Joe rounding out the rhythm section and Curtis Fuller joins Golson in the front line for a spry quintet setting. Six tracks: "Strut time", "Jubilation", "Symptoms", "Are You Real?", "Cry A Blue Tear" and "This Night".

Sublime Hammond from Johnny Smith – a pair of early albums for Riverside, back to back on a single CD! Black Coffee is one of Johnny Hammond's first albums – and a cooking little live set that really has the organist working with some early raw power! The group's a trio, but they seem to burn differently than some of the other organ combos of the time – maybe with that fluid sensibility that Johnny brought to his keys, and which would later open up in even more famous ways. The core group features Eddie McFadden on guitar and Leo Stevens on drums – but they're joined by Seldon Powell on tenor for more than half the album, who really opens things up with his tremendous playing – and shows at an early state that Johnny Hammond always knows the right way to use a horn player. Titles include "Monterey Theme", "Far Away Places", "I Remember Clifford", "He's A Real Gone Guy", and "Rufus Toofus". Mr Wonderful is a record that definitely lives up to its title – reminding us not only that Johnny Hammond Smith is one hell of an organist, but also a great leader with a really unique feel for a groove! The set's noteworthy not just for Johnny's own work on Hammond, but also for the presence of a young Houston Person – blowing tenor here in a way that's breathtaking right from the start – a bold, soulful tone that's a perfect fit for the group – which also includes trumpet from Johnny Williams and guitar from Eddie McFadden. The set includes a lot of tasty originals by Johnny – like "Cyra", "Lambert's Lounge", "Departure", and "Opus 2" – and already shows the way that Hammond was complicating his groove from that of other players of the time!

A sweet little taste of the early years of organist Johnny Hammond Smith – and a set that's noteworthy as much for the work on horns as it is for his own performance on Hammond! The set has Johnny working with two great young talents – Virgil Jones on trumpet and Houston Person on tenor – both of whom really cook the set up strongly, and throw in searing solos that not only help drive all the tracks, but which really point the way towards some of the more modern directions that organ jazz was taking in the 60s – a shift that really sets this album apart from previous records by Smith! Arrangements are wonderful – soulful and modern, almost in a Jack McDuff sort of way – and titles include Smith's soulful classic "Cleopatra & The African Knight", plus "Benny's Diggin", "Brake Through", and "Twixt The Sheets".

One of the most revelatory albums ever cut by reedman James Clay – a player who's often lumped into the "hard blowing" camp because of his Texas roots, but one who emerges here with a great deal of sensitivity and imagination! The record features Clay playing both tenor and flute – clearly a "double dose of soul" – and on the latter instrument, he's got a really wonderful style that's a bit like Yusef Lateef, still hardbop and swinging, but touched with a sense of exoticism that really makes for a unique sound to the record. And even on tenor, Clay's got a looser, more introspective sound here – one that catches the mood set by the rest of the group – with Victor Feldman on vibes, Gene Harris on piano, Sam Jones on bass, and Louis Hayes on drums – plus a bit of extra cornet from Nat Adderley on a few tracks. The album has a good modal feel in parts, and a stronger soul jazz groove in others – and it's one of the great sets put together as part of the "Cannonball Presents" series for Riverside in the early 60s. Tracks include "Lost Tears", "Pockets", "New Delhi", and "Linda Serene". CD also features 2 bonus tracks!

"Dynamic" is right – as Rod's one of the hippest large group arrangers of his time! The album's a really wonderful record that features Rod leading an octet with a distinctly modern touch – almost building off the styles of Kenton groups of the 50s, but with more of the energetic twists and turns of some of the west coast groups of later years. Players are mostly lesser-known names – save for trumpeter Rolf Ericson – and the album features some really great tenor work by George Marge, who we only know from this record. Tracks are angular and fresh, but always nicely swinging – and titles include "Holler", "Jelly Man", "El General", "Upper Bay", and "Ah! Spain" – all by Levitt!

Mellow trio material by Bobby, recorded in the final moments of the Riverside label in its first incarnation, but not issued until 1970, when ABC took over the label's holdings. The set's notable in that Bobby plays vibes on 2 tracks, and also performs an unaccompanied piano solo on another. Backing is by the very sensitive Sam Jones and Jimmy Cobb, and titles include "From The Bottom", "Moanin", "Samba Triste", and "Quiet Nights Of Quiet Stars".

Amazing work from acoustic guitarist Don Bikoff – a 60s contemporary of John Fahey and Robbie Basho, but much more obscure than either of those legendary players! Yet Bikoff's got a very similar vibe – a style that's rooted in folk, but has broken way way past the genre – amazing acoustic guitar explorations that are filled with tones and timings that so many other players wouldn't discover until the 70s – yet still never be able to deliver with a freshness like this! The album's completely mesmerizing from the start – almost like the hypnotic air of Sandy Bull, without the hypnotic pyrotechnics – served up simply and sparely, in a way that leaves us breathless. Titles include "Today Has No Tomorrow", "Rindler's Metamorphosis", "The Ellipses Of Your Mind", "Bathing Prohibited In The River Styx", and "Riverside Park Blues".

It's been quite a few years since we last heard from Black Mighty Wax – but it's definitely been well worth the wait – as these guys are deeper and more sophisticated than ever, with a range of sounds we never would have expected on the last release! Soul styles are still very much at the front of their mix – and the record features vocals from a range of great singers who include Sarah Jane Morris, Neffa, Ricardo Phillips, Lily Latuheru, Silvia Donati, and others – set to grooves that still sparkle with the same keyboard elements that have always made Black Mighty great – but which also have more acoustic touches from time to time, and a rhythmic variation that goes way past the usual Irma groove! Titles include "Shake Your Heart", "We The Family", "Let Me Go", "Pull Down", "Follow That Fellow", "Riverside", and "Nightdriver" – and the CD features a few bonus remixes too!

A soul set from Spain – a really sweet debut from Veronica Ferreiro, a singer with depth to rival the best of the American underground! There's a surprisingly non-commercial feel to the music – nicely laidback production, and strong traces of jazz that really make the backings sparkle – and match the great range that Veronica brings to her music – making for a blend that's a lot like some of our favorite Neo Soul albums from the early years of the genre in the US! Lyrics are partly Spanish, partly English – and on the latter, Ferreiro comes across with a sensitive quality that could well have her reaching a wider audience over the next few years. Titles include "Floating Lovers", "Non Quero Crer", "Riverside", "Laio", and "Please Don't Fall In Love".

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".

2 classic Stitt albums back to back – Turn It On and Black Vibrations, both recorded during his early 70s funk years at Prestige! Turn It On is very firmly the funky Prestige sound of the early 70s – complete with Idris Muhammad on drums, organ by Leon Spencer, guitar by Melvin Sparks, and trumpet by Virgil Jones. After years of noodling around on the Varitone, never quite hitting his right moment, Stitt breaks out nicely in the company of these hot young funky players. The record's got a few mellow moments that point towards his older ballad style, but the funky numbers are the best. Titles include "Turn It On", "The BBQ Man", and "Miss Riverside". On Black Vibrations, Sonny Stitt joins up with a tight group of prime Prestige funky players – like Idris Muhammad, Leon Spencer, Melvin Sparks, and Virgil Jones – for a sound that's much funkier than some of his other records for the label. The set's got a good set of modern funk tracks, with all the quality moments you'd expect from these top-notch players. Titles include "Goin' To DC", "Calling Card", "Them Funky Changes", and "Black Vibrations".

The title's a bit obtuse, but the music is warm and soulful throughout – a really tremendous session that carries on the strong legacy of solo work that Jimmy Heath was doing in the 70s! The feel here is a lot like some of Heath's dates for the Muse or Xanadu labels – and Jimmy's working here with a great rhythm section that includes Larry Willis on piano, Stafford James on bass, and Akira Tana on drums – players who provide a very soulful grounding for the set. Heath blows alto, tenor, and soprano sax – and remaining players include Tom Williams on trumpet and Tony Purrone on guitar. The groove is in a classic Prestige/Riverside mode – not hard hardbop, but soulful, with touches of post-Coltrane blowing, and the mix of lyricism and soul jazz that Heath's always brought to his best work. Titles include "Trane Connections", "Forever Sonny", "You Can See", "I Waited For You", and "Song For Ben Webster". CD features the bonus track "Is That So".

A definite treasure from Taj Mahal – especially for fans of his excellent early work for Columbia Records! The first CD in the package features unreleased studio tracks recorded during the glory days for Columbia – not rough cuts or demos, but well-finished gems that offer up the same sublime mix of modes – a bit of blues with plenty of soul – that you'd expect from Taj! Titles include "Shady Grove", "Butter", "Yan Nah Mama Loo", "Chainey Do", "Sweet Mama Janisse", "Ain't Gwaine Whistle Dixie", and "Jacob's Ladder". CD two features more rare treats – a full concert recorded in London in 1970 – never issued before, and really well-produced. Titles include "Runnin By The Riverside", "Big Fat", "Diving Duck Blues", "Bacon Fat", "Tomorrow May Not Be Your Day", and "Checkin Up On My Baby".

A great Japanese take on the sound of Thelonious Monk at the end of the 50s – one that's led by pianist Masao Yagi, and which features some of the same dynamic horn interplay as Monk's best work on Riverside! Yagi's got a really great group here – with Sadao Watanabe on alto sax and Akira Nakano on trumpet – both stepping out in sharp-edged, angular lines at the front of the tunes – then soaring out in beautifully expressive solos on their own. Yagi's piano is strong too – surprisingly sensitive at times – and the record does a great job of nodding towards the original without clearly aping it too much. Titles include "Off Minor", "Evidence", "Monk's Mood", "Straight No Chaser", and "Blue Monk".

These guys may not be a household name, but they're a heck of a great group – and one of the best European combos we've heard from the time! Staffan is a pianist, and Lars is a trumpet and cornet player – and it's clear that the group have taken some cues from the classic Cannonball Adderley Sextet of the Riverside years. But even more importantly, they seem to be working here in that "soul jazz into modern" style that showed up on a lot of the Cannonball-produced records from the same period – a mode that's still somewhat grounded in a rootsy, rhythm-based sound – but which also breaks out with some incredible tones, colors, and modes – shading in the set with a depth that we never would have expected! The CD features a range of different recordings by the group – including one with vocals by the lovely Monica Zetterlund – and the overall quality of the work is at or above that of the usual Blue Note or Prestige session from the same period! 11 tracks in all – with titles that include "Paronet I Montecello", "Atarax", "Fin Sikt Over Havet", "Pia", "Juan Les Pins", "Farfars Vals", and "Maybe Tomorrow".

An excellent bit of soul jazz – completely rare in the original pressing, and one of the few early albums ever cut by organist Melvin Rhyne! Rhyne first came to prominence as the organist with Wes Montgomery – and he hailed from Montgomery's hometown of Indianapolis, and had the distinction of appearing on an early trio album with Wes. This rare side as a leader has Rhyne heading up an all-star cast that includes Blue Mitchell, Johnny Griffin, Andy Simpkins, and Albert Tootie Heath – plus fellow Indiana resident Gene Harris, who plays piano on the session, which makes for a very unusual combination next to the organ! The tracks are all quite long – and the session's a lot more down-and-dirty than the usual work that was recorded on the Jazzland and Riverside labels, stretching out at an open-ended soul jazz pace that was much more the territory of Prestige Records. Tracks include "Blue Farouq", "Shoo Shoo Baby", and "Barefoot Sunday Blues".

A classic set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". CD features 3 bonus tracks!