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A great introduction to trad jazz – 5LPs worth of material, with a great set of notes!

A swingin' Japanese concert by one of Cannonball's best groups from the 60's. Joe Zawinul's on piano, brother Nat's on cornet, Sam Jones is on bass, and Louis Hayes is on drums. But the real treat here is Yusef Lateef, who does some excellent reed work on tenor, flute, and oboe – and who's playing at this point with that great mix of soul jazz and out-sounds that he was cooking up at the time. There's some great long cuts, including an excellent 12 minute reading of Lateef's "Brother John", plus the title track, "Come Sunday", "Tengo Tango", "Easy To Love" and "The Weaver".

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!

Interesting stuff, if not the kind of record you'd put on every day. The album's an interview with Louis Armstrong's wife Lil, and she talks at length about her famous days in the early years of jazz. Segments include "The Young Louis", "Early Life In Chicago", "Return To New Orleans", and "The End Of A Marriage" – and the whole thing's the kind of record that was perfect for the bespectacled jazzbo trad collector of the early 60s.

Swedish leader Harry Arnold tackles the music of Richard Rodgers – taking the tunes into some sweet jazzy big band directions, without as many of the showy flourishes you might expect from the "Broadway" title! Of course, many of the tunes here are older Rodgers material – making them already familiar jazz standards even before Arnold gets his hands on them – but the approach here is nice and lively, with some of the soaring tou ches of Arnold's other work. Players aren't listed, unfortunately – and titles include "This Can't Be Love", "Blue Moon", "Where Or When", "Falling In Love With Love", and "Have You Met Miss Jones".

The Latin Impressions here are 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".

One of Tadd Dameron's last true jazz sides – featuring the bop maestro composing, arranging, and conducting for a large group that includes Bill Evans, Johnny Griffin, Joe Wilder, Clark Terry, and Philly Joe Jones. There's a bit of Ellington in the album – with somber washes of mood and color, in a manner that was always one of Dameron's strongest suits – and the quality of the players, especially Evans, really adds a lot to the album. Titles include "On A Misty Night", "Just Plain Talkin", "You're A Joy", "Swift As The Wind", and "Dial B For Beauty".

A great Riverside LP that brings together early material from the 78rpm generation!

One of the most modern moments from Don Elliott in the 50s – a twin-trumpet album that's awash in counterpoint experiments of the time! Trumpeter Rusty Dedrick joins Don in the frontline – working together in tight head arrangements that have a strong chamber feel to them, but then opening up into more fluidly expressive solos that are the main strength of the set. Other players include Mundell Lowe on guitar, Eddie Safranski on bass, and Don Lamond on drums – as well as Dick Hyman, who handled all the arrangements and wrote a good number of the tunes! Titles include "Mine", "Vampire Till Ready", "Your Own Iron", "Dominick Seventh", "The Bull Speaks", and "Henry's Mambo".

Very hip work from a young Jimmy Heath – a relative newcomer to the scene at this point, but breaking out with a firm conception and tone, exercised strongly here in a set of large group arrangements worked out in collaboration with Tom McIntosh. McIntosh's work in this format is well known from albums by Dizzy and James Moody – and as with those records, this one has an edgey quality that really keeps the music fresh, and which provides a good foil for solos by Heath, McIntosh, Pat Patrick, and Cannonball Adderley. Titles include "Big P", "Mona's Mood", "Nails", and "The Picture Of Heath".

One of the few records ever cut by this fantastic alto player from the mid 50s! Henry most famously worked with Monk, but his albums as a leader are great – and this one features Kenny Dorham, Kenny Drew, Wilbur Ware, and Art Taylor, all components of a totally solid Riverside lineup. Titles include "Orient", "Active Ingredients", "Checkmate", and "Free Flight".

Great LP issue of material issued on 78s for the Solo Art label in 1939!

A very interesting early session for Elvin, and one that's filled with lots of warm lyrical moments – nicely laid down by Thad Jones, Frank Wess, Hank Jones, and Frank Foster. These four came together often during the late 50s on some sessions, but the addition of Elvin opens things up nicely, and creates a rhythm sound that's a bit freer than some of those old Savoy sessions or Prestige blowing sides. Titles include "Ray El", "Lady Luck", "Pretty Brown", "Shadowland", and "Buzz-at".

We're always big fans of Bev Kelly's work, but this album is way hipper than the usual vocal album of its type from the time – thanks to a sweet little lineup that features Pony Poindexter on alto sax and Flip Nunez on piano! The presence of Poindexter's horn is always a treat, on the handful of smaller group sides he cut from this time – and Nunez's piano lines have an inherently rhythmic groove that comes out even on the mellower numbers – which often are somewhat spacious, but stepping along with a gentle groove underneath Kelly's fantastic vocals. Part of the credit for this groove goes to Johnny Allen, whose work on bass is great – and the group's completed by the drums of Tony Johnson, who's a bit more down in the mix. Titles include "Long Ago & Far Away", "My Foolish Heart", "Night & Day", "Just Friends", "Love Letters", "This Is Always", and "My Funny Valentine".

Great early work by Mark Murphy – a set that's different than the cool breeziness of his 70s work, and done with an approach that's a lot hipper than most of his 60s contemporaries! Ernie Wilkins handles the arrangements, and there's a rollicking soul jazz groove here that's a bit unusual for Murphy – but which makes for a nice change from his earlier work for Decca or Capitol. As with most of Mark's records, the tunes are very well-chosen, and go way past the obvious – a set list that includes Fran Landesman's great "Stoppin The Clock", Jon Hendricks' lyrics to Horace Silver's "Doodlin", Annie Ross' famous vocalese version of "Twisted", and hip takes on jazz standards "Green Dolphin Street", "Milestones", and "Out Of This World".

Given that Chet Baker's a singer himself, it's a bit surprising that he's working here with another vocalist – but that oddity aside, the album's a great little session that's got an intimate feel that's a bit different than Baker's own vocal work! Pace's voice is much fuller and richer than Chet's – with a range that would have been very much at home doing more dramatic pop material of the era, yet which also fits in very comfortably in this laidback small group session. Baker himself plays trumpet on the record, backing Johnny up – and other players include Herbie Mann on flute, Joe Berle on piano, Jimmie Burke on bass, and either Philly Joe Jones or Ed Thigpen on drums. Titles include "All Or Nothing At All", "The Way You Look Tonight", "Yesterdays", "Everything I've Got Belongs To You", "When The Sun Comes Out", and "This Is Always".

Early work by Dave Pike – one of his first albums ever, recorded with an all-star lineup that includes Barry Harris on piano, Reggie Workman on bass, and Billy Higgins on drums. Pike's got less of the groovy and fuzzed-out sound of his later work – but even at this young age, he's a heck of a vibes player, and working here with such a great group, he can't help but sparkle. Tracks include "Cheryl", "On Green Dolphin Street", "Forward", "Tendin To Business", "Solar", and "Hot House".

One of the late 50s Jazz Archive LPs on Riverside – in which they dig through older sides, and issue the material in LP format with nice notes. Most of the material here is from the pivotal late 20s years, milestones in the formation of the American female blues singer! Also features work by Sara Martin, Trixie Smith, Mary Johnson, and Hociel Thomas.

A great change of pace for Billy Taylor – and one of the most striking sessions he made in the 50s! As you'll guess from the title, the record features Taylor's piano along with four flutes – played by Frank Wess, Herbie Mann, Jerome Richardson, and Phil Bodner – working here both in group formation, and in solo mode – fluttering nicely with a cool jazzy sound that really prefaces lots of use of the instrument in the 60s! Another added bonus on the record is added congas from Chano Pozo on most tracks, making for a groovy Latinesque bounce. Titles include "Blue Shutters", "One For The Woofer", "The Song Is Ended", "Back Home", "No Parking", and "Lady Be Good".

A surprisingly nice set that brings together Clark Terry and Thelonious Monk! Given Terry's bright approach to jazz, it's a bit hard to imagine him and Monk working well together – but at the time of this session, Clark still had a fair bit of an edge – with roots in a number of modern styles of the 50s, and a flair for crafting a compelling line on his horn. The set's got a number of nice originals – and titles include "In Orbit", "Pea Eye", "Argentina", "One Foot In The Gutter", and "Buck's Business". (Also issued under the name Clark Terry In Orbit.)

Clark Terry's breezy trumpet is paired with Don Butterfield's tuba for a real "top and bottom" session of brassy jazz. The two of them are backed by a sharp rhythm section that includes Jimmy Jones on piano, Sam Jones on bass, and Art Taylor on drums. The set's got a lot of nice originals, and despite what you might think, this is actually one of Terry's harder sessions. Cuts include "Top N Bottom", "Mardi Gras Waltz", "Blues For Etta", and "Mili-Terry".

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".

Pretty darn hip stuff – and with some great soloing by Cannonball! The record features Adderley's alto fronting a large group conducted by Ernie Wilkins, and featuring a host of hip players like Melba Liston, Oliver Nelson, Jerome Richardson, Ray Barretto, Sam Jones, and Wynton Kelly. The title track is a beautiful reading of Galt MacDermott's "African Waltz" – and other tracks include "Blue Brass Groove", "Something Different", "The Uptown", and "Letter From Home". Wilkins outdoes himself on this one, really providing some strong swinging arrangements that work well with the complicated groove of the project – and in a way, the record feels more like Randy Weston or Melba Liston's at the helm.

A wonderfully experimental album from drummer Philly Joe Jones – and one that has just the right sort of "ethnic" feel to earn its "Around The World" title! Mostly, the ethnicity comes through in exotic reed work by Sahib Shihab, Herbie Mann, and Cannonball Adderley – who all play wonderfully on the album – alongside straighter sidemen who include Lee Morgan and Blue Mitchell on trumpets, Benny Golson on tenor, and Curtis Fuller on trombone. There's a bit of the Yusef Lateef late 50s sound on here – mixed with Philly's killer crack sock drum approach – a blend that comes off wonderfully throughout, and really makes the album a standout in Philly Joe's catalog from the time. Titles include "Land Of The Blue Veils", "Blue Gwynn", "El Tambores", and "The Tribal Message", which is a nice drum solo!

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".

One of Bill Evans' landmark sessions with the young bassist Scott LaFaro – a player who made key contributions on every record he touched, then left this earth far too soon in his career! The live session's a perfect demonstration of the way that the Evans trio format not only re-worked the use of the piano in jazz, but also the bass and drums as well – as LaFaro's deeply evocative playing is paired with the equally fresh drum work of Paul Motian – heard here at his youthful early best, before some of his contributions to jazz had become cliche in the hands of other players. The session was caught live at the Village Vanguard on the night of June 25, 1961 – and titles include longish takes on "Solar", "Jade Visions", "Gloria's Step", and "Alice In Wonderland".

One of Johnny Griffin's hard blowing LPs as a leader for Jazzland – recorded with a crack lineup that includes Blue Mitchell on trumpet, Julian Priester on trombone, Wynton Kelly on piano, Sam Jones on bass, and Albert Heath on drums! This is the kind of work that the term "hard bop" was coined for – sharp-edged jazz at its best – informed strongly by earlier bop and modern modes, but also played with a deeper dose of soul overall. The six players come together perfectly throughout – working with a tightness that matches most Blue Note work of the time – and titles are a great set of tracks that includes 3 by Chicago pianist Norman Simmons, and 1 by the great Babs Gonzales. Tunes include "Olive Refractions", "The Message", "Lonely One", "Playmates", and "63rd Street Theme".

Wonderful work from a player who never ceases to please us! Even at this early point in his career, Jimmy Heath had a soulful hipness that you'd be hard pressed to find in another musician – working with a vision of soul jazz that most other players wouldn't hip to until the 70s. Jimmy wrote most of the tracks on the set, and arranged the album with a style that's as strikingly modern as it is in the pocket and grooving – played superbly by a combo that include Freddie Hubbard on trumpet, Julius Watkins on French Horn, Cedar Walton on piano, Percy Heath on bass, and Albert Heath on drums. Tracks include "Funny Time", "Down Shift", "The Quota", and "Bells & Horns".

A great little collection of work recorded by bassist Sam Jones during the early 60s – done at a time when Jones had emerged from some key fame in the Cannonball Adderley Quintet, and was beginning to work as a leader on his own! The quality of the work here is extremely high, and Jones' sessions from the time marked a whole new voice for the bass as a leader in jazz – done at a time when soul jazz waves were rolling onto the market with great strength, and allowing the "bottom" of the genre's sound to come to the forefront. Players on the sessions include Nat Adderley, Charles Davis, Jimmy Heath, Bobby Timmons, Blue Mitchell, Les Spann, and Frank Strozier – and titles include "Blue Bird", "Some Kinda Mean", "There Is No Greater Love", "Home", "The Old Country", "Four", and "Unit 7".

A fantastic lost soul jazz groover! The record is clearly one of the best ever cut by this fantastically overlooked bass player – and it's filled with a great set of players that includes Bobby Timmons, Nat Adderley, Charles Davis, and Jimmy Heath. The whole thing leaps along with that tight mix of hardbop, soul jazz, and spiritual modernism that would occasionally show up on the best Riverside/Jazzland session – and the level of writing and playing is superb throughout! Jones plays both bass and cello, and he kicks the group into Jazz Messengers-like precision for the duration of the session. Titles include "Home", "Some Kinda Mean", "The Old Country", and a great bass-heavy version of Timmons' "So Tired".

A great little session from Wynton Kelly – one that has him breaking out of the lyrical roots of his trio work, and hitting some harder notes as a leader of a larger hardbop group! The album features Kelly working in both trio and sextet format – the latter with players who include Nat Adderley, Bobby Jaspar, and Benny Golson; and the former with Paul Chambers and Jimmy Cobb (who also play with the sextet). The sextet tracks are the ones that we really love here – as they tend to feature 2 long original numbers by Kelly – much more open than usual, and in a mode that was rarely captured as well on Wynton's albums as a leader. The trio sides are still nice too, though – although a bit more like some of his other sides – and the album features 6 tracks in all, titles that include "Kelly Blue", "Softly As In A Morning Sunrise", "Green Dollphin Street", "Keep It Moving", and "Old Clothes".

Key early work by Abbey – no so much the "blue" album you'd guess from the title, but a session that's filled with the kind of anger and emotion that makes us love her so much when she's this good! The group here is very hip – an ensemble brought to the date by her then-partner Max Roach – with Max on drums, Tommy Turrentine on trumpet, Stanley Turrentine on tenor, and Julian Preister on trombone – all working with Abbey in a mode that's quite similar to her best appearances on Roach records from the same stretch! Titles include her amazing early version of "Afro Blue", plus "Lonely House", "Come Sunday", "Let Up", and a great version of Oscar Brown, Jr's "Brother Where Are You?"

A really wonderful album by Herbie Mann – and one of the few to feature him exclusively on bass clarinet! Bass clarinet is one of the hippest of instruments – mastered only by a few strong solo players in jazz, like Eric Dolphy or David Murray – and Herbie shows here that he was way more than a pop jazz player back in the 50s, as he uses the tone of the deep rich instrument to weave magical lines of color and sound. He's working here with a hip small LA combo that includes Jack Sheldon on trumpet, Jimmy Rowles on piano, and Mel Lewis on drums – and the tracks are long and snaking, way more interesting than you'd expect! Titles include "The Theme", "A Handful Of Stars", "Lady Bird", and "A Stella Performance".

Monk's alone in San Francisco – playing solo piano throughout, with that thoughtful, introspective approach to his work that we really love! Most of the tunes here are Monk originals or standards that Thelonious has played before at least a few times on record – but the solo setting almost has him pulling the tunes apart slowly – contemplating their components, then stepping through them with new inspiration as he puts them back together. Titles include "Blue Monk", "Pannonica", "Remember", "Reflections", "Bluehawk", "Everything Happens To Me",a nd "Round Lights".

Two classic Riverside Monk LPs, reissued together in one nice set! Brilliant Corners was a real comeback for Monk from the late 50s, and a record that features some of his best writing for horns! The group is incredible – bringing together Clark Terry, Sonny Rollins, and Ernie Henry – in a bracing front line that takes Monk's angular piano compositions, and forges them into a horn sound that would have an undeniable influence on modern jazz for years to come! The whole thing's brilliant, and titles include "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing". Five By Monk By Five is a certified classic of modern jazz, with a lively quintet that includes Thad Jones, Sam Jones, Art Taylor, and the amazing Charlie Rouse, here just beginning a very fruitful association with Monk – and really adding a lot to the session with some incredible tenor work that's as angular and modern as needed for Monk's work, yet with a soulful edge that really brings a lot to the music. The original album's got 5 long tracks – hence the title – and they're all Monk originals: "I Mean You", "Ask Me Now", "Jackie-ing" and "Straight No Chaser", plus this set includes two takes of "Played Twice".

A brilliant album by Monk – a real comeback from the late 50s, and a record that features some of his best writing for horns! The group is incredible – bringing together Clark Terry, Sonny Rollins, and Ernie Henry – in a bracing front line that takes Monk's angular piano compositions, and forges them into a horn sound that would have an undeniable influence on modern jazz for years to come! The whole thing's brilliant, and titles include "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing".

A pretty darn important album for Wes – as it was his first session with the sort of larger arrangements that would later make him huge! Although Montgomery was mostly recording for Riverside in small combos, this session has him playing in front of larger backings by Jimmy Jones – not as sublime as later work by Don Sebesky or Gil Evans, but done in a way that definitely shows that Wes can do a lot with the guitar when freed from the need to stick with the rhythm strongly. Titles include "All The Way", "Pretty Blue", "Somewhere", "God Bless The Child", "Tune Up", and "Baubles Bangles & Beads".

Classic early Wes Montgomery – 2 Riverside sessions collected on one double LP, Movin' Along and Full House. Movin' Along features James Clay playing with the group, for the added bonus of a flute/tenor sound that you don't always get on Wes' guitar-heavy sessions. The record includes the nice groover "Movin' Along", plus "So Do It", "Sandu", and "Says You", which was written by Sam Jones, who plays bass on the session. Full House is another great set by Wes – recorded in a very lively live setting, with a quartet that includes Johnny Griffin, Wynton Kelly, Paul Chambers, and Jimmy Cobb. It's great to hear Griffin with Montgomery, and the two of them pair up nicely on the album's longer tracks – like "Full House" and "Cariba", both written by Montgomery, and the classic "Blue N Boogie" by Dizzy Gillespie.

A collection of work from Wes' earlier years on Riverside – pulled together into a memorial package in the late 60s, after his untimely early death. Most of the tracks are in a small combo mode that's quite different from the later larger arrangements of Wes later years – and titles include "Jingles", "Body & Soul", "Sandu", "Grooveyard", "Cotton Tail", and "While We're Young".

A seminal set from Max Roach – the start of his more righteous stretch in jazz, as you might guess from the title of the album! At some level, the record's got a bit of the feel of the post-Clifford Brown Mercury years from Roach – but at another, it's stretching out towards the directions Max would explore fully on the Candid, Impulse, and Fantasy labels in the 60s – an approach to hardbop that often really pushes its limits – not content to simply set up solos for the players, and instead moving with a much more forceful energy overall! Group members include Booker Little on trumpet, George Coleman on tenor, Ray Draper on tuba, and Art Davis on bass – and the lack of a piano makes for a very exciting sound! The album's got 2 great originals by Bill Lee – "Jodie's Cha Cha" and "Deeds Not Words" – plus Draper's classic "Filide", and the groundbreaking "Conversation" – a very cool solo by Roach on the drums!

A killer early album by Mongo Santamaria – almost an equal blend of jazz and Latin rhythms, and a great illustration of the unique contribution that he was making to both types of music back in the 60s! Mongo's group here is filled with some really great horn players – Nat Adderley on cornet, Marty Sheller on trumpet, Ronnie Capers on alto sax, and Pat Patrick on baritone – really hitting a hard-edged groove that's as filled with soul jazz solo inflections as it is with Mongo's great work on percussion! The reeds bring a sharp edge to the record that keeps on going throughout – pushing the set with a lot more soul than other Latin sides from the time, particularly those in the charanga mode. Most tracks are short and feisty, and titles include "Skins", "Fatback", "Dot Dot Dot", "Corn Bread Guajira", "Para Ti", "Sweet Tater Pie", and "Tacos".

An incredible album that has Cleanhead moving way past his usual bag! Sure, he's normally known as an R&B vocalist and alto player, but here, in one of those great Riverside "Cannonball Adderley Presents" sessions, Vinson gets into a whole new bag on some cuts. He's playing with Cannonball's group of Nat, Joe Zawinul, Sam Jones, and Louis Hayes – and there's one track in particular that's amazing – "Arriving Soon", an instrumental that has Vinson soaring on alto, wailing with an almost Coltrane-esque level of freedom. It's a killer modal track, and is worth the price of the album alone. There's another instrumental called "Vinsonology", plus vocal numbers like "Hold It", "This Time", and "Kidney Stew" – all with a nice groovy Adderley quintet kind of groove.

A stone cold smoker from the Chicago scene of the 50s – the kind of record we're proud to say came from our hometown! The album brings together the best of some of the under-recognized players in the Windy City at the time – including bassist Wilbur Ware, alto saxophonist John Jenkins, pianist Junior Mance, and a young Johnny Griffin – really tearing up the set on tenor! There's a groove here that's modern, yet soulful – fresh, clear, and very concisely blown – with a number of different musical strands all tied together tightly, and handled by the players with a sharpness that few groups today could hope to match. Titles include the legendary "Mama Daddy", plus "Desert Sands", "Be-Ware", "31st & State", and "Latin Quarters".

Everybody Digs Bill Evans – or at least it certainly seems that way from the cover endorsements by Miles Davis, Cannonball Adderley, and Ahmad Jamal – but the real proof is in the record, and the set is a great one from Bill's classic years on Riverside! Evans is at the peak of his early powers here – working with a straightforward rhythm combo that features Sam Jones on bass and Philly Joe Jones on drums – but still hitting those beautifully fluid, beautifully spacious lines that set his playing apart from most who'd come before him. Tracks include 3 solo numbers – "Lucky To Be Me", "Peace Piece", and the very short "Epilogue" – plus trio tracks "Night & Day", "Minority", "Tenderly", and "Oleo".

Late 60s issue of a fantastic Coleman Hawkins session from the late 50s – recorded with a septet that included Idrees Sulieman, Hank Jones, JJ Johnson, and Oscar Pettiford – and with an open-ended tone that veers towards the Prestige blowing session mode, but which is also tighter, and touched with traces of the modernism that Hawk had on his late solos at the time. Titles include the long tracks "Juicy Fruit" and "Sanctity" – plus "Chant", "Think Deep", and "Blue Lights".

A beautiful combination we'd like to hear more of – one that comes from the meeting of Milt Jackson's vibes and the guitar of Wes Montgomery – both recorded here in easygoing brilliance! The session's a nice break from the usual sound of both players at the time – and although Wes played a bit with vibes when working in The Montgomery Brothers, the Jackson approach here is a bit different – more soulful, and a bit more driven on by the rhythm section of Wynton Kelly, Sam Jones, and Philly Joe Jones. Titles include the originals "SKJ", "Blue Roz", "Jingles", and "Sam Sack" – plus versions of "Stairway To The Stars" and "Delilah".

A pretty darn important album for Wes – as it was his first session with the sort of larger arrangements that would later make him huge! Although Montgomery was mostly recording for Riverside in small combos, this session has him playing in front of larger backings by Jimmy Jones – not as sublime as later work by Don Sebesky or Gil Evans, but done in a way that definitely shows that Wes can do a lot with the guitar when freed from the need to stick with the rhythm strongly. Titles include "All The Way", "Pretty Blue", "Somewhere", "God Bless The Child", "Tune Up", and "Baubles Bangles & Beads".

A sweet little album from Johnny – quite different than most of his other sessions at the time, as this one features a big band – a "Big Soul Band", as the title says – filled with some strong Chicago and soul jazz players, and featuring killer arrangements by the great Norman Simmons! Simmons' was just bubbling up at the time – and he had a sock soul jazz sound that was part of his time on the Chicago scene, and which, unfortunately, rarely achieved as strong of recorded expression as it did on this album. Griffin's a heck of a great player, even at this age, and the strength of his horn sits nicely in the front of a great ensemble that also includes Pat Patrick, Matthew Gee, Julian Priester, Frank Strozier, Bobby Timmons, Harold Mabern, Vic Sproles, and Charlie Persip. Titles include a number of Simmons originals – like "Meditation", "Panic Room Blues" and "Holla" – plus a great reading of Timmons' "So Tired", and traditionals like "Deep River", "Nobody Knows The Trouble I've Seen" and "Wade In The Water" and Junior Mance's "Jubilation".

Trad revival material by this group that featured Buck Claton on trumpet, Dickie Wells on trombone, Tommy Newson on tenor, Charlie Byrd on guitar, and Gwaltney on alto, clarinet, and vibes. Tracks are short and include some originals, written in a classic 30s KC mode – plus a few older tunes. Titles include "Midnight Mama", "Hello Babe", "Kansas City Ballad", "The Jumping Blues", "Walter Page", and "The New Tulsa Blues".

An unusual record, with three different groupings of tracks – trio work with Mundell Lowe on guitar, George Duvivier on bass, and Jack Greenberg on English horn; vocals from Barbara Lea, with backing by a quintet led by Billy Taylor on piano; and solo piano from Tony Burrello.

An interesting early side by Cannonball that captures him before he'd really found his voice – and when the folks at Mercury still didn't really know what to do with him. The record's a tightly arranged set of tracks from Duke Ellington's musical "Jump For Joy" – with arrangements by Bill Russo, and small group playing that includes Emmett Berry, Bill Evans, Barry Gabraith, Jimmy Cobb, and a small string section. The sound's actually quite haunting – and Cannon's alto solos remind us more of some of the best "with strings" soloing heard on Verve in the early 50s than they do his later soul jazz classics on Riverside or Capitol. That's ok with us, though – because the session's still got a lot to offer in that respect, and Cannonball handles the solos wonderfully! Titles include "Bli Blip", "Just Squeeze Me", "Nothin", and "The Tune Of The Hickory Stick".

Genius work from trumpeter Blue Mitchell – one of his most solid sides as a leader from the 60s, and a well-deserved treasure in the Blue Note catalog! The album's quite different than the straight soul jazz of Blue's early days on Riverside – or the more arranged dates of the late 60s – and it features him moving in a soulful, lyrical, modal style – quite similar to Horace Silver in conception, but with a fresh execution that's mighty nice – and which marks Mitchell as one of the fresher trumpet voices of his generation! The whole group's great, too – and the lineup includes Junior Cook on tenor, Blue's old bandmate from Horace Silver's group – plus Harold Mabern on piano, who really helps shape the sound of the record, Gene Taylor on bass and Billy Higgins on drums. Tracks include gems from Mitchell, Jimmy Heath, and Tom McIntosh – titles that include "Bring It Home To Me", "Blues 3 For 1", "Port Rico Rock", and "Ginger Bread Boy".

Quite an interesting session from Bud Powell – a tribute to Thelonious Monk, recorded in Paris in 1961, but not issued until 1965, shortly before his death. Cannonball Adderley was the producer on the session, and it's got the same sort of groundbreaking approach as some of the other Cannonball-produced albums for Riverside from the same stretch – a bit more farther reaching than the players' work in an ordinary setting. Powell's take on the Monk sound is a very unusual one – a bit more fragile and tentative than Monk's own interpretations of the material, but performed with an equal commitment to a modern sound overall. Backing is from Kenny Clarke on drums and Pierre Michelot on bass – and titles include "No Name Blues", "Ruby My Dear", "Off Minor", "Squatty", and "Thelonious".

2 LP set that brings together the best moments from 4 different Clark Terry albums on Riverside – Serenade To A Bus Seat, Duke With A Difference, In Orbit, and Top and Bottom Brass. he's playing in a variety of groups here, but the overall feel is straight hard bop. Players include Thelonious Monk, Sam Jones, Art Taylor, Johnny Griffin, and Philly Joe Jones. Titles include "Cruising", "Digits", "Top N Bottom", and "Let's Cool One".

A really great overview of the career of Eddie Jefferson – one that begins with his first few vocal singles of the 50s, and follows him through album work for Riverside and Prestige in the 60s! Jefferson's contribution to jazz is tremendous – as he was one of the first to set lyrics to solos by famous players of the time, giving them deeper meaning with his own new lyrics and his warmly raspy vocal presentation of the material. Here, he's working with a top-shelf array of jazz players who really appreciate his work – including Seldon Powell, Clark Terry, Charles McPherson, Barry Harris, Johnny Griffin, and James Moody – the last of whom was a longtime friend and collaborator of Jefferson. Titles include "Soft & Furry", "Old Shoes", "Baby Girl", "Come Along With Me", "There I Go There I Go Again", "Filthy McNasty", "Mercy Mercy Mercy", "Now's The Time", "Things Are Getting Better", and "Disappointed". Great notes and session information too!

Tight collection of tracks culled from Blue's Riverside LPs from the late 50's and early 60's. His hard edged trumpet is out front in all of the tracks, and the personnel includes Johnny Griffin, Wynton Kelly, Philly Joe Jones, Wilbur Ware, Cedar Walton, and Benny Golson. Nice notes on Mitchell's early days, and titles include "Minor Vamp", "Studio B", "Strollin", "Sir John", and a classic recording of "Blues March".

Killer trio work from pianist Bobby Timmons – a set that opens up with a lot more fire and freedom than some of his earlier dates for Riverside! When Timmons made the shift to Prestige, something really clicked in his playing – a new sense of energy, rhythm, and space that's all heard perfectly here! The album's a great little cooker that goes beyond some of the cliches that Bobby was hitting in his earlier days – cliches that weren't really a problem, given his strength as a player and musical vision – but which were a bit more apparent as everyone else was grabbing his bag. Here, he opens up into whole new territory – working with bassist Sam Jones and drummer Ray Lucas – really riding some great waves of sound on tracks that include "Little Barefoot Soul", "Cut Me Loose Charlie", "Walkin Wadin Sittin Ridin", "Ain't Thinkin Bout It", and "Little One".

A 70s double LP issue of a variety of sides Milt cut as a leader for Prestige and Riverside. The first batch of numbers were originally released as a couple of 10"s, then repackaged under various guises in LP format, and feature a slightly different take on the Modern Jazz Quartet sound of the early years – as the album features Milt Jackson's vibes in the company of MJQ bandmates Percy Heath and Connie Kay, but also includes Horace Silver on piano – in the spot normally reserved for John Lewis! The presence of Silver on piano gives a bit of a harder edge to the set, one that almost recalls some of Jackson's work on Blue Note in the early 50s, yet which is rounded out here by a few lighter and more lyrical touches on rhythm. The set includes a great reading of "Moonray", the Jackson original "Stonewall", and the tracks "Wonder Why", "I Should Care", and "My Funny Valentine". There's also 4 numbers with the same group adding Henry Boozier on trumpet, performing "Soma", "Buhaina", "Opus De Funk" and "I've Lost Your Love". The second LP is from almost a decade on, a very nice little Milt Jackson album – cut in the mode of some of his excellent soul jazz group sides from the mid 60s. This set pushes Milt past the format of much of his other work – especially that of the MJQ – as it features him in a very soulful sextet, working with Tommy Flanagan on piano, Kenny Dorham on trumpet, Jimmy Heath on tenor, Ron Carter on bass, and Connie Kay on drums. The presence of Dorham and Heath give the album a light lyrical swing that really opens things up – and there's a fair bit of modally-oriented tunes on the set that hint at the more soulful playing of most of the players in the 70s. Tracks include a great version of "Invitation", plus "The Sealer", "Poom A Loom", "Ruby", and "None Shall Wander".

A great one from Johnny – slightly different than earlier work on Riverside or Tuba, but still with that tight stepping vibes sound that makes all his albums great! The album features arrangements by Manny Albam, many that have a slightly Latin feel, thanks to bongos and conga by Johnny Pacheco. The group includes a brace of saxes by players like Joe Farrell, Seldon Powell, Frank Wess, and Jerome Richardson – and tracks include "Suddenly You", "Up Up & Away", "The Thing To Do", "We're Blusein", "Live For Life", "LA Soul", and "Street Scene".

Excellent meeting between 2 mighty talents who rarely recorded together! Oliver Nelson did the arrangements and leads a big band, but the real focus is on Jimmy and Wes' solos, which are given a lot of room to roam in long tracks like "James & Wes", "Night Train", and "Down By The Riverside". Nice hard playing from Jimmy, with that great tone that he was getting in the mid 60's, and lots of very clean Hammond lines on his solos.