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Possibly the first true moment of genius from Paul Bley – a key indie standout after a few years working for bigger American labels! By the time of this early ESP album, Paul Bley was no stranger to the American scene – having recorded a few records for different labels in the 50s, and making some surprise appearances on other sessions in the early part of the 60s. But by the time of this mid 60s set, Bley was really coming into his own – working in a style that would have a huge influence on the style of jazz piano for the next few decades, and which was one of the first strong statements of modernism from the Canadian scene. Here, he's working with Steve Swallow on bass and Barry Altschul on percussion in a trio format, working through a great batch of tracks by then wife Carla – like "Ida", "Start", "Closer", "Batterie", and "Sideways In Mexico" – as well as versions of Ornette Coleman's "Crossroads", Annette Peacock's "Cartoon", and his own "Figfoot".

Groundbreaking work on vibes by Gary Burton – recorded in a setting that's live and open, yet quite groovy too! There's a rhythmic freeness that marks the set from the very first note – lessons learned from the generation of Ornette, yet taken in new direction – and definitely into new colors and tones – thanks to Burton's amazingly chromatic vibes, and the vivid guitar of Larry Coryell – not to mention the unusual rhythms from Steve Swallow on bass and Bob Moses on drums. These youthful players push the envelope even more than on some of Burton's other RCA albums of the time – going for a groove that's much more open and abstract, and which puts Coryell's guitar in a role that's as important as Burton's vibes in the set. Titles include "Wrong Is Right", "Walter L", "Lines", "The Sunset Bell", and "Blue Comedy".

Quite a surprising pairing of talents – and a set that shows that at in the right settings, Stephane Grappelli's still got plenty of modern moments! The core group is really that of vibist Gary Burton – with Steve Swallow on electric bass and Bill Goodwin on drums – both players with an open, spacious feel that's quite different than the usual rhythm group for a Grappelli record – which really opens up the legendary violinist, and has him stretching out wonderfully – especially on some of the more contemporary numbers. Burton's vibes are great at this point – sharp toned, yet incredibly warm too – and titles include "Daphne", "Blue In Green", "Sweet Rain", "Coquette", and "Arpege".

An incredible debut as a leader for Chick Corea – quite different than his 70s work, and a set that's filled with heavy soul jazz and Latin influences! Chick's coming off of years of work in Latin bands, and in smaller soul jazz combos, and his writing here is a mix of the freer style that would later become too free, with the rootsier elements of his background. The players on the record include Woody Shaw on trumpet, Joe Farrell on tenor and flute, Steve Swallow on bass, and Joe Chambers on drums – and all tracks are long, with a sweeping, searching, soulful sound. Titles include a beautiful rendition of Chick's "Litha", which he also recorded with Stan Getz on Sweet Rain, plus two other nice originals – "Tones For Joan's Bones" and "Straight Up And Down".

A magnificent set from the team of Art Farmer and Jim Hall – one of those rare pairings in jazz that somehow comes off sounding even way better than the sum of its parts – and that's saying a lot, given that the parts here are already pretty darn great! Farmer's flugelhorn and Hall's guitar create these wonderful shapes in sound – softly coming together with a vibe that's very modern, yet also soulful – gently swinging while still experimenting – with a combination that's completely wonderful! Think of Bob Brookmeyer and Clark Terry, or Bill Evans and Jim Hall – and you'll be somewhere in the territory of these magically unique sounds – augmented with some gentle rhythm work by Steve Swallow on bass and Walter Perkins on drums. Titles include "By Myself", "Days Of Wine & Roses", "Sometime Ago", and "My Kinda Love".

A sublime little set – one of Art Farmer's seminal quartet recordings from the mid 60s, and a blend of modern lyricism with an ease and economy that's hardly ever been matched again! There's a careful, measured style here that's really tremendous – one that's never too sleepy or lazy with its approach, and which almost seems to carry on the modes of expression first begun by Jimmy Giuffre in the 50s – although in completely different ways! The group features Pete LaRoca on drums, Steve Kuhn on piano, and Steve Swallow on bass – but it's Art's effortless trumpet solos that really make the album sparkle, as they drift over the top of the album's hip original tunes, written by Carla Bley and LaRoca. Titles include "Ad Infinitum", "Petite Bell", "Tears", and "One For Majid".

A beautiful bit of lost Getz from the 60s – a record of incredible depth that's somehow gotten lost in the shuffle of time! The album has Stan playing at Tanglewood with a core group that includes Gary Burton, Jim Hall, Steve Swallow, and Roy Haynes, plus musical backings by the Boston Pops – conducted by Arthur Fiedler in a style that's somehow without any of the hoke of his other recordings of the time, and which manages to give Stan some of the best "with orchestra" backings he's ever gotten! There's none of the overwrought modernism of some of the other Getz/orchestra collaborations that we never seem to like as much – and Stan's in incredible Spring Rain-like tone on the whole thing – blowing magically through both the lush and grooving numbers alike! Titles include "Tanglewood Concerto", "Where Do You Go", "Three Ballads For Stan", "A Song After Sundown", and a great orchestral take on "Girl From Ipanema".

A rare set from one of Stan Getz's hippest groups! The album was recorded in Paris in 1966, during a time in which Stan was working with a groundbreaking quartet that included Gary Burton on vibes, Steve Swallow on bass, and Roy Haynes on drums – a combo that unfortunately got a bit overshadowed by Stan's bossa work, which was recorded in earlier years, but still getting issued and played heavily during the time of the Burton quartet's reign. The upshot of that situation was that the combo weren't nearly as exposed, or recorded, as much as they should have been – making the CD an essential look at this under-documented side of Stan's career. Getz's tone is fantastic – and he glides freely with the young modernists in a way that you barely ever hear on any of his sides from the 60s, save for, perhaps, the sublime Sweet Rain LP. Titles include the long "The Knight Rides Again" – plus the tracks "Singing Song", "On Green Dolphin Street", "Stan's Blues", "Edelweiss", and "Manha De Carnaval".

Wonderful work from guitarist Jimmy Raney – easily one of his standout sets of the 60s, and a record that features some great second guitar from Jim Hall! The pairing of guitars makes for a really unique sort of sound – one that's more languidly flowing than some of Raney's previous work, in ways that opens up with some tremendous tones and colors throughout – almost a guitar-based version of the sort of groove that Clark Terry and Bob Brookmeyer got with their horns while recording for Mainstream at the time. The presence of Zoot Sims on tenor is also a great factor of the record – and there's almost a gentle bossa nova influence going on here, but one that's touched with more modern elements too – in ways that really transform the sound of Sims' horn. Other players in the group include Steve Swallow on bass and Osie Johnson on drums – and titles include"A Primera Vez", "Presente De Natal", "Este Seu Olhar", "Betaminus", "Move It", "All Across The City", and "Coisa Mais Linda".

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".

Hip work from both players – and Jarrett plays electric piano and soprano sax too – in a group that also features Sam Brown on guitar, Steve Swallow on bass, and Bill Goodwin on drums. Titles include "Como En Vietnam", "Fortune Smiles", "The Raven Speaks", and "Grown Your Own".

A rare set from one of Stan Getz's hippest groups! The album was recorded in Paris in 1966, during a time in which Stan was working with a groundbreaking quartet that included Gary Burton on vibes, Steve Swallow on bass, and Roy Haynes on drums – a combo that unfortunately got a bit overshadowed by Stan's bossa work, which was recorded in earlier years, but still getting issued and played heavily during the time of the Burton quartet's reign. The upshot of that situation was that the combo weren't nearly as exposed, or recorded, as much as they should have been – making the CD an essential look at this under-documented side of Stan's career. Getz's tone is fantastic – and he glides freely with the young modernists in a way that you barely ever hear on any of his sides from the 60s, save for, perhaps, the sublime Sweet Rain LP. Titles include the long "The Knight Rides Again" – plus the tracks "Singing Song", "On Green Dolphin Street", "Stan's Blues", "Edelweiss", and "Manha De Carnaval".

Monk doing his thing at the '64 Monterey Jazz Festival – backed by his core group of Charlie Rouse on tenor, Steve Swallow on bass and Ben Riley on drums – plus additional backing by the Monterey Workshop crew on a couple – a recording released now for the first time ever! Monk's playing here with space and nuance, but still kicks up the energy in spots – incorporating the accompanying players on the closing 2 tracks – which included Buddy Collette on sax & flute, Lou Blackburn on trombone, Jack Nimitz on baritone, and Bobby Bryant & Melvin more on trumpets. The takes all run north of 8 minutes, and titles include "Blue Monk", "Evidence", "Bright Mississippi", "Rhythm-A-Ning", plus "Think Of One" and the immortal "Straight No Chaser" – fleshed out with the bigger band!

Fantastic stuff from Jimmy Giuffre! This record captures him at a perfect turning point in his career – after his initial piano-less experiments on Atlantic, but before the totally free work that graced his later years. The group is his trio with Paul Bley on piano and Steve Swallow on bass – and the tracks are angular modernism carried to its most perfect realization. Titles include "Ictus", "Carla", "Sonic", "Whirrr", and "The Gamut".

A rare set from one of Stan Getz's hippest groups! The album was recorded in Paris in 1966, during a time in which Stan was working with a groundbreaking quartet that included Gary Burton on vibes, Steve Swallow on bass, and Roy Haynes on drums – a combo that unfortunately got a bit overshadowed by Stan's bossa work, which was recorded in earlier years, but still getting issued and played heavily during the time of the Burton quartet's reign. The upshot of that situation was that the combo weren't nearly as exposed, or recorded, as much as they should have been – making the record an essential look at this under-documented side of Stan's career. Getz's tone is fantastic – and he glides freely with the young modernists in a way that you barely ever hear on any of his sides from the 60s, save for, perhaps, the sublime Sweet Rain LP. Titles include the long "The Knight Rides Again" – plus the tracks "Singing Song", "On Green Dolphin Street", "Edelweiss", and "Manha De Carnaval".