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A crucially important record in Sonny Rollins' career – one that had him breaking out of the straight bop sound, and emerging as a major power on the tenor sax – one with limitless creative power! The set features Rollins working with only drum and bass accompaniment – played by Max Roach and Oscar Pettiford, respectively – and the lack of piano or other horns gives Rollins a free space in which to work his magic, doing so incredibly on the album's "Freedom Suite", an extended piece that runs for nearly 20 minutes, and which pushes all conceptions of the tenor's ability to solo freely on record. The other side of the record features shorter tracks – "Shadow Waltz", "Someday I'll Find You", and "Will You Still Be Mine?" – blown with no less creativity.

Incredible! If you've ever wondered why people think Sonny Rollins is so great, you owe it to yourself to own this album, because it's one that stands as one of the best 5 that Rollins ever cut, and because it features him playing in a stripped-down raw setting that lets his full solo talent come to the forefront. The material was all recorded in 1957 as part of his famous Village Vanguard session for Blue Note, but it was unreleased until 1975, when Blue Note put out this double LP set of the tracks with great notes by Bob Blumenthal. Every cut's a winner, and Rollins plays in two different trio settings – one with Donald Bailey and Pete La Roca, the other with Wilbur Ware and Elvin Jones. It's all great, and will make you a fan of his for life!

One of Sonny Rollins' classic sides for Blue Note from the 50s – all of which are excellent! For the set, Sonny's working in a relatively free quartet format, with Wynton Kelly on piano, and rhythm from the team of Doug Watkins and Philly Joe Jones. Overall, the session's got a bit more of a boppish edge than some of Sonny's more modern sides from the time, but that's no problem with us, especially given the fresh touches on tracks like "Tune Up", "Asiatic Raes", and "Blues For Philly Joe". If you've ever needed a record to convince you how great Rollins is, this might just be the one!

One of the greatest Sonny Rollins records ever! The set is a legendary batch of trio tracks that feature Sonny working in a format that is incredibly free for the time, and which show him as more of a modernist than a bopper – although his solos are still pretty darn fantastic from a bop perspective – stretching out in free, piano-less space – really cutting some amazing edges, and blown in tones we might never have expected from Rollins a few years before. The group is beautifully open ended – with Wilbur Ware on bass and Elvin Jones on drums, and both of them in their best mode of the late 50s. Titles include "Softly As In A Morning Sunset", "Sonny Moon For Two", and "Striver's Row". Great stuff, and one of the best sides that Blue Note ever cut!

One of Sonny Rollins' best albums ever, and a totally inspired, totally non-stop freewheeling live set, recorded with Don Cherry, Bob Cranshaw, and Billy Higgins! Working on long tracks in an unfettered setting, Rollins' hits one of those rare moments of genius where he can turn his solo over and over again – never losing interest, and always opening up new territory – at a level that easily matches the oft-made claim that he's one of the greatest tenor talents ever on the tenor sax! The album features only 3 long tracks, all dominated by masterful work by Rollins – and titles include "Oleo", "Dearly Beloved", and "Doxy".

An overlooked Sonny Rollins set from the early 80s – one that has him recording with a fair bit of guitar, but still staying very much in his best form as an improviser! The group here features both Bobby Broom on electric guitar, and Yoshiaki Masuo on acoustic and electric – both players who get in plenty of sound during the set, but always as a follow-up to Rollins' bold tenor voice in the lead. Remaining group members include Bob Cranshaw on electric bass and Jack DeJohnette on drums – and although the electric strings might normally make for a smooth sort of record, Sonny's sharper sound still brings plenty of edge – even when the rhythms of a few tunes get a bit bright. Titles include "My Little Brown Book", "Reel Life", "McGhee", "Rosita's Best Friend", and "Best Wishes".

Quite possibly THE greatest Sonny Rollins album of the early years – or at least the one that has received the most accolades over the years! The record is a brilliant batch of quartet tracks that reinvents bop through Sonny's complicated, yet seemingly automatic solos – an excellent showcase for his razor-sharp talents for improvisation and invention, played with effortless ease, yet still one of the great bar-setting performances of 50s jazz. The group features Tommy Flanagan, Max Roach, and Doug Watkins – and tunes include an original reading of the perennial Rollins' standard "St. Thomas", plus a great version of "Moritat (Mack The Knife)", and the cuts "Strode Rode" and "Blue 7".

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! CD features 3 bonus tracks!

A groundbreaking album from Sonny Rollins, largely for the extended track "Tenor Madness", which runs on for 13 minutes, and features him and Coltrane blowing head to head – redefining the sound of the tenor sax in jazz through the course of that amazing track! Backing is by the Red Garland/Paul Chambers/Philly Joe Jones group that backed up 'Trane on many of his Prestige sides, and they work equally well with Rollins – especially on the ballads "When your Lover Has Gone" and "My Reverie", plus the lyrical "The Most Beautiful Girl In The World".

A groundbreaking album from Sonny Rollins, largely for the extended track "Tenor Madness", which runs on for 13 minutes, and features him and Coltrane blowing head to head – redefining the sound of the tenor sax in jazz through the course of that amazing track! Backing is by the Red Garland/Paul Chambers/Philly Joe Jones group that backed up 'Trane on many of his Prestige sides, and they work equally well with Rollins – especially on the ballads "When your Lover Has Gone" and "My Reverie", plus the lyrical "The Most Beautiful Girl In The World".

One of the greatest jam session records on Verve! Although some of the label's "big horn talent" albums tended to be a bit snoozy, this one crackles with energy, and features three different classes of boppers working together perfectly on long, lively tracks with Ray Bryant on piano, Tommy Bryant on bass, and Charlie Persip on drums. In fact, it's probably the soulful rhythm section that makes the whole thing so darn good – as they really chop up some nice rhythms on cuts like "Wheatleigh Hall", "Haute Mon", and the album's classic version of "Con Alma". Great stuff, and essential for fans of Diz and Rollins especially!

An underrated 70s effort from Sonny Rollins, featuring him fronting a dynamite group with Stanley Cowell and Mtume at the height of their Afro-centric electric jazz period. Longtime sideman Bob Cranshaw plus David Lee round out the rhythm section, and this is one of Rollins' LPs featuring the excellent Japanese guitarist Masuo, plus Rufus Harley guests on one number, so you can guess this is one righteous affair. Rollins sounds awesome, laying extended solos over some tremendous funky vamps by the group on numbers like "The Cutting Edge" and "First Moves", and working in a more contemplative vein on "To A Wild Rose" and "A House Is Not A Home". Also includes a lengthy take on "Swing Low, Sweet Chariot".

One of Sonny Rollins' real standout sessions from the 70s – a different vibe than before, but a sound that's still as striking than any of his earlier records! The record features him in a slightly more modern group – with backing by Walter Davis Jr on piano, Masuo on gutiar, Bob Cranshaw on bass, David Lee on drums, and Mtume on percussion – a great mix of acoustic and electric elements that brings up a sweet 70s sound for the record. Sonny's solo power is still tremendous – differently pitched here, but still incredibly inventive – and titles include "Pictures In The Reflection Of A Golden Horn", "Notes For Eddie", "Love Man", and "Sais", a great composition by Mtume, which is handled here by Rollins in an incredibly soulful manner!

Key recordings from Sonny's breakout year of 1954 – tracks from 2 different sessions, brought together into one album that packs a hell of a punch! The modernist Rollins tenor is at its early peak here – fresh, bold, and highly creative – yet equally concerned with the role of the ensemble as well. And with players like Kenny Dorham, Elmo Hope, Thelonious Monk, and Art Blakey helping things out, the sessions are both cookers all the way through! Titles include 4 by a group with Dorham, Hope, and Blakey – "Solid", "Movin Out", "Swingin For Bumsy", and "Silk N Satin" – plus 1 more by a quartet with Monk, Tommy Potter, and Art Taylor – the longer "More Than You Know".

A sweet electric set from Sonny Rollins – and maybe the closest he ever came to cutting a funk record! The set's got that mellow electric funk approach that Prestige was using often in the mid 70s – Sonny's tenor lines getting some great Bay Area studio support from George Duke on keyboards, Bennie Maupin on reeds, Raul De Souza on trombone, Bob Cranshaw on electric bass, and even Mtume on congas – players who work together to create a tight ensemble sound that moves the album nicely along! Titles include the great cut "Newkleus", a space funk jammer that has a nice Headhunters-ish kind of sound – and other tracks include "Gwaligo", "Azalea", and "Cosmet".

The rarest of all the Sonny Rollins Blue Note sessions – and possibly the best! The record captures Rollins at a key turning point – emerging from his firey bop years, moving into a much more complicated, introspective tenor style that was a perfect showcase for his developing genius for improvisation. He's playing here in a quintet with Wynton Kelly, Donald Byrd, Gene Ramey, and Max Roach – but as with all Rollins Blue Note sessions, his tenor is the dominant force. Titles include "Bluesnote", "Plain Jane", "Sonnysphere", and "Decision". This newly remastered edition features additional notes and photos!

As classic as it comes for late 50s Blue Note – and a key meeting between Sonny Rollins and Thelonious Monk! The group on the set features Rollins and Monk with JJ Johnson, Paul Chambers, and Art Blakey – all of whom push things more in the direction of Blue Note's sound of the time, then Monk's own recordings of the period for Riverside. But the contrast of modes makes for a really startling sound – one that has Monk "monking" it up next to the straighter rhythm section, and bringing out some more modern tones in Rollins' tenor work. Horace Silver plays piano on part of the set as well – but still keeps things strong – and titles include "Why Don't I", "Wail March", "Misterioso", and "Reflections".

A groundbreaking album from Sonny Rollins, largely for the extended track "Tenor Madness", which runs on for 13 minutes, and features him and Coltrane blowing head to head – redefining the sound of the tenor sax in jazz through the course of that amazing track! Backing is by the Red Garland/Paul Chambers/Philly Joe Jones group that backed up 'Trane on many of his Prestige sides, and they work equally well with Rollins – especially on the ballads "When your Lover Has Gone" and "My Reverie", plus the lyrical "The Most Beautiful Girl In The World".

One of Sonny Rollins' sweetest electric sessions from the 70s – a date that features Patrice Rushen handling some keyboards, and Lee Ritenour on guitar – but Sonny blowing solid, soulful tenor all the way through! The setting is the sort that might initially turn off fans of Rollins' classic era, but it's great to hear him change things up here – picking up some rhythms that you might not normally expect, and really doing some great things with them – as on his Caribbean-inflected RCA album from the 60s. Other players include Alex Blake on bass, Billy Cobham on drums, and Bill Summers on congas – and there's a horn section on some numbers too. Rollins composed most of the tracks and they include "Island Lady", "Asfrantation Woogie", "Happy Feel", and "Charm Baby". Other titles includes the George Duke numbers "Love Reborn" and "The Way I Feel About You" – plus Rushen's "Shout It Out".

If worktime was like this for us, you'd catch us showing up on the job early every day – but sadly, nothing at our office can match the brilliance of early Sonny Rollins here – a sharp-edged genius that perfectly illustrates why he was one of the greatest players on his horn for many decades running! There's a depth of tone on the record that rivals Coleman Hawkins or Lester Young – but a quickness of pace and imagination that shows a clear influence from Charlie Parker, and a deftness that few were bringing to the tenor at the time. The rhythm section here is super tight – and features Ray Bryant on piano, George Morrow on bass, and Max Roach on drums – all supporting Rollins' bold lead with lines that bristle with electricity, but still often fall back to let the sound of the tenor envelop the whole group. Tracks are longish, and titles include "Raincheck", "There Are Such Things", "Paradox", and "It's All Right With Me".

A full length set that compiles earlier sessions cut under either the name of Thelonious Monk or Sonny Rollins – most of them together in the same group! At the time of recording, Monk was an established figure on the bop scene, but Rollins was still a fresh voiced up-and-comer – yet they work together beautifully here on an early take of "Friday The Thirteenth" which really benefits from Rollins' voicing on tenor, next to Monk's angular arrangement. The pair also perform "The Way You Look Tonight" and "I Want To Be Happy" with a quartet – twisting the familiar tunes into strongly Monkish territory – and the album's last 2 tracks, "Nutty" and "Work" are performed by Monk with a trio that includes Percy Heath on bass and Art Blakey on drums.

One of Sonny Rollins' classic sides for Blue Note from the 50s – all of which are excellent! For the set, Sonny's working in a relatively free quartet format, with Wynton Kelly on piano, and rhythm from the team of Doug Watkins and Philly Joe Jones. Overall, the session's got a bit more of a boppish edge than some of Sonny's more modern sides from the time, but that's no problem with us, especially given the fresh touches on tracks like "Tune Up", "Asiatic Raes", and "Blues For Philly Joe". If you've ever needed a record to convince you how great Rollins is, this might just be the one!

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great!

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!

A full length set that compiles earlier sessions cut under either the name of Thelonious Monk or Sonny Rollins – most of them together in the same group! At the time of recording, Monk was an established figure on the bop scene, but Rollins was still a fresh voiced up-and-comer – yet they work together beautifully here on an early take of "Friday The Thirteenth" which really benefits from Rollins' voicing on tenor, next to Monk's angular arrangement. The pair also perform "The Way You Look Tonight" and "I Want To Be Happy" with a quartet – twisting the familiar tunes into strongly Monkish territory – and the album's last 2 tracks, "Nutty" and "Work" are performed by Monk with a trio that includes Percy Heath on bass and Art Blakey on drums.

A beautiful soundtrack to the dark British comedy of the same name – starring a young Michael Caine! You might expect it to be a bit schmaltzy, but it's pure jazz all the way through, and features strong inside playing by Rollins over lively orchestrations by Oliver Nelson – filled with moody colors, great changes, and a vibrant sense of energy that's far deeper than the actual film! The group includes Phil Woods, Kenny Burrell, and J.J. Johnson, and they swing hard on all tracks. Titles include the 10 minute workout of "Alfie's Theme", plus a shorter "Differently" version" – plus "On Impulse", "Transition Theme", and "He's Younger Than You". Nice stuff throughout, and much more of a jazz album than a soundtrack!

A sweet electric set from Sonny Rollins – and maybe the closest he ever came to cutting a funk record! The set's got that mellow electric funk approach that Prestige was using often in the mid 70s – Sonny's tenor lines getting some great Bay Area studio support from George Duke on keyboards, Bennie Maupin on reeds, Raul De Souza on trombone, Bob Cranshaw on electric bass, and even Mtume on congas – players who work together to create a tight ensemble sound that moves the album nicely along! Titles include the great cut "Newkleus", a space funk jammer that has a nice Headhunters-ish kind of sound – and other tracks include "Gwaligo", "Azalea", and "Cosmet".

One of Sonny Rollins' best albums of the 70s – a Japanese-only live date that features some excellent work on both tenor and soprano sax! The group has a really great feel – thanks to congas by Mtume and guitar from Yoshiaki Masuo – both of whom bring some new elements to Rollins' groove, alongside electric bass from Bob Cranshaw and drums from David Lee. Sonny's solos are all well-blown and quite extended – put together with a strong sense of fire, and a bit less of the hoke that could sometimes show up on other US domestic albums. Tracks are all long, and titles include "Powaii", "Moritat", "Alfie", and "St Thomas".

A landmark recording – Albert Ayler's first album for the ESP label, and a record that hit the jazz world like a bullet! Spiritual Unity sets the stage for a format that would become huge in the European avant scene of the 70s, 80s, 90s, and even today – the sax-driven power-trio, tenor against bass and drums, working freely with less rhythmic constraints than before, searching for new sounds and new modes of expression, working through changes in a style first proposed by Sonny Rollins, but taken to new intensity by the New York underground of the 60s. That sound is summed up here perfectly by Ayler, Gary Peacock, and Sunny Murray – working together with an edgey brilliance, on classic tracks that include "Ghosts: First Variation", "Ghosts: Second Variation", "The Wizard", and "Spirits".

One of Bley's best records from the 60's, and a great session recorded in Rome with Barry Altschul on drums and Mark Levinson on bass. We think of this era in Bley's career as sort of his middle period, after some important time spent with Ornette, one of the few pianists Coleman ever used, and Jimmy Giuffre, as we as Sonny Rollins, all of whose influence had made an impact on Bley, as a performer, writer and leader. The playing is wide open, but with a keen sense of group interplay and a wonderful dynamic between the three, a post free sensibility that was very progressive but never too noisy or oblique. The tracks include Ornette Coleman's "Ramblin", Annette Peacock's "Both", Carla Bley's "Ida Lupino" and "Albert's Love Theme", and Bley's own "Mazatalon".

Rare lost work by Miles Davis – recordings from 1951 broadcasts from the legendary Birdland nightclub, restored here with surprisingly good fidelity! The recordings are interesting for a number of reasons – first, because the tracks are longer than usual for Miles – certainly longer than some of his shorter LP recordings of the time – and second, because the assortment of players really pushes past the usual suspects! 7 of the tracks feature a sextet that includes Kenny Drew, Sonny Rollins, JJ Johnson, Tommy Potter, and Art Blakey – and then the remaining 3 tracks feature an even more compelling group that includes Eddie Lockjaw Davis, Billy Taylor, Charles Mingus, Blakey, and the legendary Big Nick Nicholas on tenor! Titles include "Move", "The Squirrel", "Lady Bird", "Out Of The Blue", "Half Nelson", and "Down".

A session of "collectors items" that Miles Davis recorded for Prestige in the 50s – both dates that were too short to be issued as albums by themselves, combined here into one full length record! The first batch of material is from 1953 – and features Davis working with Sonny Rollins and Charlie Parker (playing here under his "Charlie Chan" session name) – all in a mode that steps off a bit from the boppishness of Davis' Blue Note recordings. Titles include 2 takes of "Serpent's Tooth", plus "Round Midnight" and "Compulsion". The second half of the record is from 3 year later, 1956 – and again features Rollins, plus Tommy Flanagan on piano, Paul Chambers on bass, and Art Taylor on drums. Tracks are a bit longer and more mature in the Davis idiom – and titles include "In Your Own Sweet Way", "Vierd Blues", and "No Line".

A session of "collectors items" that Miles Davis recorded for Prestige in the 50s – both dates that were too short to be issued as albums by themselves, combined here into one full length record! The first batch of material is from 1953 – and features Davis working with Sonny Rollins and Charlie Parker (playing here under his "Charlie Chan" session name) – all in a mode that steps off a bit from the boppishness of Davis' Blue Note recordings. Titles include 2 takes of "Serpent's Tooth", plus "Round Midnight" and "Compulsion". The second half of the record is from 3 year later, 1956 – and again features Rollins, plus Tommy Flanagan on piano, Paul Chambers on bass, and Art Taylor on drums. Tracks are a bit longer and more mature in the Davis idiom – and titles include "In Your Own Sweet Way", "Vierd Blues", and "No Line".

Amazing work from Fitz Gore – an overlooked tenor player who made some pretty heady records on the European scene of the late 70s! Fitz originally hails from Jamaica, but worked heavily on the French, German, and Scandinavian scenes of the 70s – blowing some mighty mean tenor that has equal doses of Sonny Rollins and Albert Ayler – the amazingly fresh tone of the latter, and the soulful style of improvisation that marked the best bold work of the former – all handled with some offbeat tuning as well. Yet Fitz is very much his own man too – as you'll hear in this hip selection of recordings pulled from some of his rare albums – beautiful work that features piano, electric piano, bass, drums, and congas – all brewed up together in a blend of spiritual and soul jazz styles, often with some slight African influences too – especially considering the use of congas. We'd easily rank these records right up there with anything coming from the American underground of the time – and the package is a brilliant introduction to Gore's music – with titles that include "Gisela", "Musication 1", "Delilah", "Requiem For Julian Cannonball Adderley", and "Song For My Father". CD features 2 bonus tracks too – "Pelatiah" and "Porcelain".

One of the only albums as a leader from bassist Henry Grimes – a hell of a great player who'd made his name working with Sonny Rollins, but who steps out here into much freer territory! The group features Grimes at the helm on bass, but also features killer contributions from Perry Robinson – playing outside clarinet here at a level that's even more farther reaching that Jimmy Giuffre at his 60s heights. The group's completed by drummer Tom Price, who really spurs the combo on strongly – as they work with a very raw, free sound that features tremendous interplay between all three instruments. One of our favorites on ESP – with titles that include "Fish Story", "Walk On", "The Call", and "Son Of Alfalfa".

An obscure session that was nearly lost, because it was issued on a cheapo label – but which features some really great work from Coleman Hawkins! The format is small combo, with long tracks that really open up – and Hawk is blowing in that fantastic mode that he began to use a lot around the end of the 50s. His tone is incredible – at once deep and soulful, but also touched with some raspiness and a bit of a biting reed approach – almost a bit of Sonny Rollins at times, with a sound that really makes us want to listen to more work from this fruitful (and overlooked) time in Hawk's career! Players include Thad Jones on trumpet, Eddie Costa on piano and vibes, George Duvivier on bass, and Osie Johnson on drums – and titles include "Bean In Orbit", "Stalking", "Moodsville", and "Hassle".

Genius work from one of the greatest young tenorists in many years – Sweden's Jonas Kullhammar, heard here with his Andratx trio – a group based on tenor, bass, and drums – all with a fluidly creative sound that takes us back to Sonny Rollins at the Village Vanguard in the late 50s! Jonas has a bold, strong voice on his instrument – one that's bracingly inventive, but always inside, on the money, and swinging – a rare balance of freedom and jazz focus that never lets up through the course of the album. Other trio members include Kresten Osgood on drums and Ole Morten Vagen on bass – both players who provide far more than just rhythmic support – but who also know how to swing nicely as well! Titles include "Salut", "Kifi", "Black Benny", "Settled In The Saddle", "Kid Dynamite", "Ida Lupino", "Days & Nights Waiting", and "Ebony Queen".

Tenor, bass, and drums – a wicked combination here that really holds together beautifully over the course of the album's long live tracks! Tenorist Ralph LaLama's hardly sounded better – definitely blowing with the bop influences you might guess from the group's name, but also spinning out with a freewheeling energy in the company of bassist Joel Forbes and drummer Clifford Barbaro – with a mix of modern tones that almost takes us back to Sonny Rollins At The Village Vanguard in the late 50s! The album's proof that Smalls Live is one of the most smoking jazz labels around – as you'll hear on tracks that include "Lester Left Town", "Mean What You Say", "Da Lamma's Da Lemma", "Love Letters", and "Nonchalant".

A great addition to the Modern Jazz Quartet – as the clarinet of Jimmy Giuffre brings a sharp modern edge to the record! The album's similar to the other MJQ Music Inn date with Sonny Rollins – and shows how the addition of a reed player can really unlock new colors, tones, and possibilities in the sounds of the group. And in this case, given the Giuffre's at the height of his early powers – coming off some sublime trio dates for Atlantic – the pairing of players is completely sublime! Titles include "A Fugue At Music Inn", "Serenade", and "Fun".

A key recording from the early years of David Murray – a sharp-edged trio recording that instantly placed him in a strong lineage of tenor improvisers that includes Sonny Rollins and Albert Ayler! The record's a live date – recorded at the Wilisau Jazz Festival in 1978 with a trio that features Johnny Dyani on bass and Andrew Cyrille on drums – both well-chosen players to assist Murray on his long, exploratory tracks for the record – tunes that somewhat break open his loft jazz styles of the period, and push things slightly more into a European improvisatory mode. Titles include "3D Family", "Patricia", "In Memory Of Yomo Kenyatta", and "Shout Song".

Amazing 70s work from British altoist Mike Osborne – working here with a razor sharp trio that includes Harry Miller on bass and Louis Moholo on drums. Osborne's tone is already tremendous at the start – but the added rhythmic pressure of Miller and Moholo really make the album cook – burning with more intensity than the usual Ogun session of the time, and really taking on a triple-sided sort of interplay that allows each player ample voice on the date. There's almost a late 50s Sonny Rollins Trio sort of legacy going on here – but one pushed to freer 70s dimensions at times – and the whole thing's a great testament to the hidden talents of the critically overlooked Osborne! The side-long "All Night Long" suite includes improvs on "All Night Long", "Rivers", "Round Midnight" and "Scotch Pearl", and side 2 is also taken up by "Recapulations", another suite featuring "Ken's Tune", "Country Bounce", "All Night Long" and "Trio Trio". CD also features 2 bonus tracks – "Scotch Pearl" and "Now & Then Here & Now".

A great little album from Max Roach – one that has him finding a whole new voice in jazz! The set was recorded on the heels of Max's time with Clifford Brown – and it's a great little album that has him bouncing back nicely from the loss by moving into a new realm that shows off his more lyrical side! The group on the album features Kenny Dorham, Sonny Rollins, Billy Wallace, and George Morrow – and as you'd guess by the title, most tunes are in a jazz waltz mode, which gives them a nicely dancing quality, soft and a bit exotic – almost modal at times – and a nice change from Roach's more full-on hardbop style of the Clifford Brown years. Titles include "Little Folks", "Lover", "The Most Beautiful Girl In the World", and "Blues Waltz".

If you think that Pharaoh Sanders' genius as a leader first blossomed during his post-Coltrane years on Impulse, you owe it to yourself to check out this early album for ESP – a startlingly great session that offers a whole new side of his talents! The album features 2 side-long tracks – each of them great in their own ways, both in ways that are far different from the later Sanders sound on Impulse! Pharoah's tone here isn't nearly as raspy as on his more famous sides – it's more straightforward, almost Coltrane-esque – and as the long tracks unfold, there's almost a Sonny Rollins-like sense of spontaneous invention, especially on "Bethera", which takes up all of side two. And while we love the spiritual sensibilities of Sanders' classic albums, we also really like the pointedness of this one – not just because it shows a young Pharoah already possessed of greatness not infused by Coltrane, but also because the album's a mostly-inside session that's a real standout in the ESP catalog! The group's unusual too – and features Stan Foster on trumpet, Jane Getz on piano, William Bennett on bass, and Marvin Patillo on percussion. Tracks include "Bethera" and "Seven by Seven".

If you think that Pharaoh Sanders' genius as a leader first blossomed during his post-Coltrane years on Impulse, you owe it to yourself to check out this early album for ESP – a startlingly great session that offers a whole new side of his talents! The album features 2 side-long tracks – each of them great in their own ways, both in ways that are far different from the later Sanders sound on Impulse! Pharoah's tone here isn't nearly as raspy as on his more famous sides – it's more straightforward, almost Coltrane-esque – and as the long tracks unfold, there's almost a Sonny Rollins-like sense of spontaneous invention, especially on "Bethera", which takes up all of side two. And while we love the spiritual sensibilities of Sanders' classic albums, we also really like the pointedness of this one – not just because it shows a young Pharoah already possessed of greatness not infused by Coltrane, but also because the album's a mostly-inside session that's a real standout in the ESP catalog! The group's unusual too – and features Stan Foster on trumpet, Jane Getz on piano, William Bennett on bass, and Marvin Patillo on percussion. Tracks include "Bethera" and "Seven by Seven". CD also features bonus interview tracks!

Don't let the "horns" in the title put you off – because the record's not a hokey "with horns" record by Miles, but a batch of all-star sessions that has him playing with some really tremendous contemporaries! The set compiles early Miles Davis sides from two different Prestige sessions of the early 50s – material originally issued as 10 inch LPs, but brought together here in a very cool full length package with a cover image by Mad Magazine's Don Martin! Side one features Miles with a sextet that includes Sonny Rollins, Bennie Green, John Lewis, Percy Heath, and Roy Haynes – on the tracks "Morpheus", "Down", "Blue Room", and "Whispering" – all taken in a boppish mode, but with slight modern touches. Side two features the compositions of Al Cohn – "Tasty Pudding", "Floppy", "Willie The Wailer", and "For Adults Only" – played by a septet that features Cohn, Zoot Sims, John Lewis, Kenny Clarke, Leonard Gaskin, and Sonny Truitt – a very nice match to the sound of side one, and a surprisingly unified record overall!

A landmark recording – Albert Ayler's first album for the ESP label, and a record that hit the jazz world like a bullet! Spiritual Unity sets the stage for a format that would become huge in the European avant scene of the 70s, 80s, 90s, and even today – the sax-driven power-trio, tenor against bass and drums, working freely with less rhythmic constraints than before, searching for new sounds and new modes of expression, working through changes in a style first proposed by Sonny Rollins, but taken to new intensity by the New York underground of the 60s. That sound is summed up here perfectly by Ayler, Gary Peacock, and Sunny Murray – working together with an edgey brilliance, on classic tracks that include "Ghosts: First Variation", "Ghosts: Second Variation", "The Wizard", and "Spirits".

A landmark recording – Albert Ayler's first album for the ESP label, and a record that hit the jazz world like a bullet! Spiritual Unity sets the stage for a format that would become huge in the European avant scene of the 70s, 80s, 90s, and even today – the sax-driven power-trio, tenor against bass and drums, working freely with less rhythmic constraints than before, searching for new sounds and new modes of expression, working through changes in a style first proposed by Sonny Rollins, but taken to new intensity by the New York underground of the 60s. That sound is summed up here perfectly by Ayler, Gary Peacock, and Sunny Murray – working together with an edgey brilliance, on classic tracks that include "Ghosts: First Variation", "Ghosts: Second Variation", "The Wizard", and "Spirits".

John Coltrane made plenty of great music during his late 50s time at the Prestige Records label – some of it under his own name, and a lot more while working with other leaders! This package presents the full recordings from that second half of Coltrane's Prestige performances – material recorded with Coltrane on tenor, under the leadership of Red Garland, Sonny Rollins, Tadd Dameron, Gene Ammons, and others – all packaged together beautifully, in the same sweet style as the Interplay and Fearless Leader box sets! There's a total of 43 long, soulfully-blown tracks on the set – alongside a heavy 72 page booklet that features full session details, a discography, rare photos, and even all the original artwork and notes from the records. Titles include "Two Bass Hit", "Weeja", "Gnid", "Soultrane", "Tenor Madness", "Our Delight", "One By One", "Blue Calypso", "The Real McCoy", "Ammon Joy", "Paul's Pal", "Two Sons", "Filide", "Clifford's Kappa", "Under Paris Skies", "Lazy Mae", "Birk's Works", and "Soul Junction".

A key early appearance on record by Sonny Rollins – recorded here with Miles Davis and Jackie McLean in the landmark Dig session! The album's the stuff that 50s bop dreams are made of – a session that has up-and-coming modernists working in the new freedom of the long playing record, in a way that allows them to break past the shorter, more urgent sound of the 78rpm single! Rollins is young, but a surprisingly strong voice on the set – and Jackie McLean's alto is incredibly sharp at this point, with strong hints of the genius to come later in the decade. The rest of the lineup includes Walter Bishop on piano, Tommy Potter on bass, and Art Blakey on drums – and tracks include Miles' classic version of "It's Only A Paper Moon", plus "Denial", "Out Of The Blue", "Dig", and "Bluing".

A great set by Hampton Hawes – really one of his best ever records, and for a number of reasons! First up, Harold Land's playing tenor on the record, opening it up a lot more than some of Hamp's regular trio sides. Secondly, the bassist on the set is Scott LaFaro, the challenging modernist from Chicago who played such great work with Ornette and Sonny Rollins, and who gives the session a fresher tone than some of Hawes' other recordings. Lastly, the tracks are longish, giving both Land and LaFaro plenty of room to roam, making for a much more adventurous record overall. Titles include "Hip", "Crazeology", "I Love You", and "Numbers Game".

A kitschy cover, but a great little record – as you might guess by its visual link to the Sonny Rollins albums for Contemporary Records at the end of the 50s! The group's a trio, of the sort that would have made Rollins' proud – searing tenor from Jon Irabagon, pushed forward boldly by the bass of Peter Brendler and drums of Barry Altschul! And although Rollins is definitely the starting point of inspiration for the music, the overall sound has a lot more bite, too – loads of circular lines from Irabagon, rolling out over the equally hypnotic basslins of Brendler, and given a surprisingly strong bottom-slap from the drums. Titles include a whole host of "Doxy"-like numbers – including "Foxy", "Proxy", "Biloxi", "Boxy", "Chicken Poxy", "Roxy", and "Epoxy".

A huge batch of work from the great JJ Johnson – material that includes 14 tracks recorded for Savoy as singles in the late 40s – plus the full Jay & Kai 10" album from 1954! The singles were all recorded in 1946, 1947, and 1949 – and they already mark Johnson as one of the most inventive trombonists of his generation – a player working with none of the hoke of earlier eras, and with a clean, modern sound that's almost like that of a bop trumpet at times. Players on these dates include Cecil Payne or Leo Parker on baritone sax, Bud Powell or Hank Jones on piano, Sonny Rollins on tenor, and Max Roach on drums – and titles include "Coppin The Bop", "Jay Jay", "Mad Bebop", "Jay Bird", "Boneology", "Down Vernon's Alley", "Riffette", "Yesterdays", "Audobon", "Don't Blame Me", and "Goof Square". The remaining 8 tracks on the CD are from a 1954 10" album – titled Jay & Kai, with a lineup that's a bit different than the full Savoy album of that name. The core group here is quite unusual – as it features Johnson and Kai Winding as twin-trombone co-leaders, plus Charles Mingus on bass and Kenny Clarke on drums – with either Billy Bauer on guitar on 4 tracks, and Wally Cirillo on piano on 4 others. The use of guitar without piano is especially inventive, and really highlights the modern inflections of the two trombonists – and titles include "Blues For Trombones", "Lament", "The Major", "Reflections", "Coop", and "Blues In Twos".

Most of the tracks on this 2 LP set are not from Jones' solo records but rather songs under the direction of others, mainly John Coltrane but also Frank Foster and Sonny Rollins. Some of the Coltrane titles are the drum solo from "Pursuance", "Impressions", "Your Lady", and "Vigil". Other titles are Foster's "Shiny Stockings" and "We Kiss In A Shadow" with Rollins. There are of course several other all star players who turn up on these songs such as McCoy Tyner, Richard Davis, Jimmy Garrison and Rashied Ali.

Not just a great duo set between reedman Joe McPhee and bassist Ingebrigt Haker Flaten – but also a set that pays tribute to the rich legacy of Brooklyn jazz from the 40s onward – pulling together strands of influences from Sonny Rollins, Don Cherry, Dewey Redman, and others! McPhee always sparkles in a setting like this – and his alto and soprano sound sharper and more expressive than we've heard in years – a perfect fit for the well-chosen basslines from Flaten, who seems to have a new sort of soul that really makes the recording shine. Titles include "Spirit Cry", "Blue Coronet", "Putnam Central", "Crossing The Bridge", "Here & Now", and "214 Martense".

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 pair of albums from one of the greatest sax talents in 60s England – in a 2CD set! Here And Now And Sounding Good was recorded in '66 and it's one of his best albums! Tenorist Morrissey had a talent level that put him right up there with giants Tubby Hayes and Ronnie Scott – and like the former, he really grew as a musician during the 60s, picking up a lot of modern styles and influences that tremendously expanded his sound. This rare session is simply amazing – filled with original tracks that stretch out with an energy level that really grabs us right away – not really Coltrane-ish, but clearly Coltrane-inspired – with a warmth and sense of exploration that was Morrisey's own. Titles include "Sunday Lunch", "Don't Fall Over The Bridge", "El Schtuck", and "Off The Wagon". Storm Warning is another treasure – the kind of rare jazz album that keeps us digging over and over as years go on! There's a little bit of modern style in his blowing for this set, sneaking in through some more traditional solos – almost like Sonny Rollins in his best RCA years. And like Sonny in those years, Dick's playing here with a really great group that's the perfect model of creative understatement – Phil Seamen on drums, Harry South on piano, and Phil Bates on bass. Tracks include "March On", "Storm Warning", "What Is There To Say", and "Wind Of Change".

Odean Pope's never sounded better – and this smoking trio set may well be one of the best illustrations of his power we've ever heard! There's a righteous focus to the record that grabs us right from the start – a bold, rich sound from his tenor that easily shows that Pope's well deserving of inclusion in a legacy that includes Archie Shepp, David Murray, and maybe even Pharoah Sanders – a voice on tenor that's incredibly clear and confident, yet filled with humanity too. Possibly, the setting of the record is what really lets Odean sparkle – an open trio with Lee Smith on bass and Billy Hart on drums – both players who have the same vibrancy as Pope, and who seem to work together with his spirit to really soar to the skies! A perfect tenor trio record – following in that Sonny Rollins/Village Vanguard legacy – with titles that include "Fresh Breeze", "The Garden Of Happiness", "Almost Like Part One", "12th Night", "You & Me", and "Good Question Two".

A key early appearance on record by Sonny Rollins – recorded here with Miles Davis and Jackie McLean in the landmark Dig session! The album's the stuff that 50s bop dreams are made of – a session that has up-and-coming modernists working in the new freedom of the long playing record, in a way that allows them to break past the shorter, more urgent sound of the 78rpm single! Rollins is young, but a surprisingly strong voice on the set – and Jackie McLean's alto is incredibly sharp at this point, with strong hints of the genius to come later in the decade. The rest of the lineup includes Walter Bishop on piano, Tommy Potter on bass, and Art Blakey on drums – and tracks include Miles' classic version of "It's Only A Paper Moon", plus "Denial", "Out Of The Blue", "Dig", and "Bluing". CD also features 2 bonus tracks – "Conception" and "My Old Flame".

Essential work from one of England's greatest jazz players! Tubby Hayes is one of our favorite-ever tenor players – and although it's hard to describe just why he's so great, let's just say that we could put him up on a stage next to Dexter Gordon and Sonny Rollins, and guess that Tubby might well blow them away. He's got this incredibly deep tenor sound that never runs out of ideas – and even on the more economical numbers on this album, you'll be stunned to hear just how much he can do. The tracks were recorded in the UK, but are issued here as one of the few US LPs that was ever issued under Hayes' name. Players include Terry Shannon, Johnny Scott, Jimmy Deuchar, and other Brit talents – all in smallish groups that usually give Tubbs the lead. Titles include "RTH", "The Late One", "S'Posin", "Tubbsville", and "Wonderful Wonderful".

A real moment of genius for Joe Henderson from the 80s – a spare trio session, recorded live at the Village Vanguard, in a mode that recalls Sonny Rollins classic sets there for Blue Note! And while Sonny often performed heavily in a trio setting, unfettered by chords in the rhythm section – this is a unique date for Joe, and he sounds brilliant throughout! Ron Carter and Al Foster provide a crisp but elastic foundation for Henderson's burnished melodies and solos in a very spacious setting. CD features 14 tracks from both volumes of the LP releases – including "The Bead Game", "Soulville", "Portrait", "Beatrice", "Friday The Thirteenth", "Happy Reunion", "Loose Change", "Ask Me Now" and "Isotope".

One of our favorite jazz artists working today – heard here in an album that bristles with excitement and energy! Jonas Kullhammar could easily be called the new heir to classic sounds on the tenor sax – a player with as much promise as Eric Alexander at his start, but with an even more deeply creative sound. Kullhammar's playing encompasses tenor experimentation from Sonny Rollins on up through Mats Gustafsson and beyond – but is probably most like the former in that he mostly keeps things inside, and holds back the temptation to get too free – letting the boldness of his tone and ability for fast invention speak most strongly. The group is wonderfully matched to Kullhammar's energy – and includes Torbjorn Gulz on piano, Torbjorn Zetterberg on bass, and Jonas Holgersson on drums. Titles include "Hitman", "Stormen", "Bendiksen", "Corny Waltz", and "The Rise & Fall Of Sour T".

A massive jazz book by Gary Giddins – author of the much respected Visions Of Jazz – and featuring more 140+ articles from a nearly 15 year period! Many of the articles here are from Giddins' Weather Bird column in The Village Voice – with pieces on Sonny Rollins, Ornette Coleman, Cassandra Wilson., Benny Carter, Lee Konitz, Rosemary Clooney, Herb Jeffries, Roy Hargrove, Marc Ribot, Terence Blanchard, David S Ware, The Bad Plus, Abbey Lincoln and many more. Hardcover, 632 pages.

Brilliant work from a guy who gets our vote as one of the best young saxophone talents working today! Jonas Kullhammar's a hell of a great player – one who can be free one minute, focused the next – always working with a long-range creative vision in his solos – of the sort we might expect to hear from Sonny Rollins or Tubby Hayes in their best years! This album shows us a newly sensitive side of Kullhammar's talents – a slightly warmer feel in his music, although never one that's commercial or "easy" in any sort of way – because the overall construction of the songs is really complex and varied, in ways that have Jonas reaching for new territory, yet all without trying to blow his head off just to impress. That balance is key to the success of the record – as is the group that works with him on the album, the great Torbjorn Gulz on piano, Torbjorn Zetterberg on bass, and Jonas Holgersson on drums. Titles include "October Is A Long Time Too", "Rat Beat", "Morsan A Farsan", "Bristol Scream", and "Blau".

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". Includes 3 bonus tracks.