Features very early work with Chris Powell & His Blue Flames – on "Ida Red" and "I Come From Jamaica" – plus 3 longer Philly sides from 1956, with Billy Root on tenor and Sam Dockery on piano – on titles that include "Walkin", "Donna Lee", and "Night In Tunisia". CD

A key slice of Clifford Brown from the 50s – two long tracks both recorded in an open-ended jam session format, showing a side of Brown's powers that's even bolder and more inventive than some of his previous studio work! The album soars along beautifully – with Brownie in the lead amongst an unusual, but well-chosen batch of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, Curtis Counce on bass, and Max Roach on drums – all grooving alongside Clifford on the album's nicely extended tracks. The album was released after Brown's death in 1956, features the side-long tracks "Caravan" and "Autumn In New York". CD also features a bonus take on "Caravan" – much shorter, called "Caravan (The Boss Man)". CD

An extended live session from the team of Clifford Brown and Max Roach – recorded together at the Cotton Club in Cleveland at the end of May in 1956 – over the course of three nights of performance that are all represented in this overstuffed set! The group here is a classic one – with Brown on trumpet, Roach on drums, Sonny Rollins on tenor, Richie Powell on piano, and George Morrow on bass – an ensemble that's been famously documented on record by Emarcy, but which is heard here in a more relaxed, rougher-edged mode – not just because of the slightly amateur sound quality on the CDs, but also because of the open-ended, club-styled performance by the group. What the date lacks in polish, it more than makes up for in edge – especially from Rollins, who's really beginning to stretch out during these years. Titles include a 23 minute take on "Get Happy", a 14 minute "Untitled Blues", a 13 minute "Delilah", a 16 minute "Jordu", an 18 minute "Nice Work If You Can Get It", a 19 minute version of "I'll Remember April", and a 10 minute take on "Daahoud" – plus versions of "Lover Man", "Take The A Train", "Valse Hot", "Lover", and "What's New". CD also features 3 bonus tracks – the same group broadcast from Town Casino in Buffalo in February of 1956 – on "Round Midnight", "Daahoud", and "The Blues Walk". CD

A nice album compiling of some of the less-collected work by Clifford Brown – 1953 recordings done in Europe for the Metronome and Vogue labels, recorded with a great larger group. Sides feature Brown working with Quincy Jones, Gigi Gryce, Anthony Ortega, Juimmy Cleveland, and others alongside Parisian and European players that include Henri Renaud and Pierre Michelot. The set features "Brown Skins", "Keeping Up With Jonesy", "Bum's Rush", "Chez Moi", "All Weird" and "No Start No End". CD

A nice album compiling of some of the less-collected work by Clifford Brown – 1953 recordings done in Europe for the Metronome and Vogue labels, recorded with a great larger group. Sides feature Brown working with Quincy Jones, Gigi Gryce, Anthony Ortega, Juimmy Cleveland, and others alongside Parisian and European players that include Henri Renaud and Pierre Michelot. The set features 9 tracks in all – with a couple of multiple takes, and titles include "Brownskins", "Keeping Up With Jonesy", "Bum's Rush", "Chez Moi", "All Weird" and "No Start No End". CD

Early 50s material recorded by the late Clifford Brown – issued here in a classic "memorial" package slightly after his death in 1956! And while Brown never recorded much for Prestige – and never really as a leader – these sides are still a great example of his completely unique touch on the trumpet! The first half of material was recorded in 1953 – and features Brown soloing with Tadd Dameron's group on the tracks "Philly JJ", "Chose Now", and "Dial B For Beauty". The other set features Brown and Art Farmer as the lead soloists with the Swedish All Stars, a group led by Quincy Jones – and tracks on that session include "Stockholm Sweetnin", "Scuse These Blues", and "Lover Come Back To Me". CD

Hard to get work by Clifford Brown – 1953 recordings originally done in Europe for the Vogue label! Brown's working here in front of a Parisian trio that features Henri Renaud, Pierre Michelot, and Benny Bennett. There's 12 tracks in all, with multiple takes of "I Can Dream, Can't I?", "The Song Is You", "You're A Lucky Guy" and "Come Rain Or Come Shine" plus "It might As Well Be Spring" and "Blue & Brown". CD

Hard to get work by Clifford Brown – 1953 recordings originally done in Europe for the Vogue label! Brown's working here with Gigi Gryce in front of a Parisian quartet that features Henri Renaud, Pierre Michelot, and Benny Bennett. There's 12 tracks in all, including 2 takes each of "All The Things You Are", "Salute To The Bandbox", "Blue Concept" and "Minority", plus "Goofin With Me", "Strictly Romantic", "Baby" and "I Cover The Waterfront". CD

Seminal work from one of the greatest trumpeters of the postwar years – captured here right before his famous association with drummer Max Roach in the final years of his life! The set brings together everything that Clifford Brown recorded for both the Blue Note and Pacific Jazz labels – including sides done with Lou Donaldson as a co-leader, in the groups of drummer Art Blakey and trombonist JJ Johnson, and as as leader on his own. Includes some alternate takes as well! CD

Great rare material from Clifford Brown's legendary days at Emarcy – tracks recorded as part of the Dinah Jams vocal sessions, but done in a much more extended jam session mode! Washington sings a bit on 2 of the tracks, but the main focus here is on Brownie working with a jamming set of instrumentalists that really open up on extended solo work. The album features 2 groups – one with the great Walter Benton on tenor, Herb Geller and Joe Maini on altos, and Kenny Drew on piano – the other with Clark Terry on trumpet, Geller on alto, Harold Land on tenor, and Junior Mance on piano – great lineups on both sessions! Tracks are long, very much in the "jams" feeling of the title – and titles include "Coronado", "I'll Remember April", and "Crazy He Calls Me". CD

Seminal west coast recordings by Clifford Brown – recorded in LA in 1954, with a mixture of hard bop and lyricism, in that sparkling mode that Brownie left as his indelible imprint on the west coast scene of the 50s! Players include Bob Gordon on baritone, Stu Williamson on trombone, Zoot Sims on tenor, and Russ Freeman on piano – and Jack Montrose arranged the set. Titles include "Tiny Capers", "Bones For Jones", "Joy Spring", "Finders Keepers", and "Daahoud". CD

An amazing collection – especially since Clifford Brown died before giving the world that many key records – which makes these French sessions from 1953 a very important part of his catalog! The set captures Brownie at his modern best – really making the move past straighter bop, into sparkling chromatic territory – mostly with alto sax genius Gigi Gryce at his side! Gryce first chose Clifford Brown as his main foil in trumpet/alto arrangements – before having to move on to Art Farmer, and then later Donald Byrd – and the sessions here feature groups with either Brown or Gryce as the leader, plus a few quartet sessions with just Brown – with Henri Renaud on piano. CD

It's hard to overstate the influence of Max Roach and Clifford Brown on the west coast scene of the 50s – as the two players helped draw out the bop sound of LA that was quickly getting lost in the cool jazz shuffle of the time, and gave it a strength and focus that not only made the group one of the strongest of the time, but which also sparked new life and a hardbop generation on the LA scene! This classic set of live recordings was one of the first great Brown/Roach moments – recorded during 2 different concerts by Gene Norman Presents, and featuring some great tenor work by LA giants Teddy Edwards and Harold Land, plus some piano by the amazing "sideways" player Carl Perkins, as well as Bud Powell's brother Richie – a key factor of the group's studio recordings on Mercury, and a player who would perish in the same accident that took the life of Clifford Brown. This CD features the full versions of most of the tracks that have been highly edited on the GNP albums over the years – including "Clifford's Axe", "Sunset Eyes", "Jordu", "I Can't Get Started", "Parisian Thoroughfare", and "Tenderly". A few edits persist in a few parts, as the unedited tapes appear to be lost – but many of the tracks are in nice longish versions! CD

A classic "with strings" session from Clifford Brown – nearly as well-done and perfect as some of Charlie Parker's sides for Verve, handled here with perhaps a slightly sweeter touch, as Neal Hefti's the man on arrangements. The core group's the Brown/Roach combo, augmented by a smallish string section – and Clifford's right up front blowing warm and glistening solos, with titles that include "Willow Weep For Me", "Yesterdays", "Laura", "Smoke Gets In Your Eyes", and "Portrait Of Jennie". CD

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

Not west coast, but "best coast" jazz – a prime example of the way the Clifford Brown/Max Roach team helped to cook up the intensity of the LA scene of the 50s by infusing it with a bit of New York fire! The album takes off in the extended mode of Clifford's All Stars album – and like that one, features Max Roach on drums alongside a lineup of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, and Curtis Counce on bass – all jamming together in really extended, side-long tracks that have plenty of space for creative solo work and free-flowing improvisation! The format's a very unusual one for the 50s – and a great side-stream to the better-known Brown/Roach albums – with the 2 long tracks "Coronado" and "You Go To My Head". CD also features a shorter rehearsal take of "Coronado". CD

Previously unreleased work from the legendary group of Clifford Brown and Max Roach – recorded back in the 50s, when Mainstream producer Bob Shad was working on the Brown/Roach dates for Mercury – but not issued until this set in the 70s, when Shad had his own label! The music here is right up there with the best 50s classics by the pair – really showcasing that amazing trumpet style that made Brownie a genius right from the start – next to some of the burning energy he forged with Roach in the group. Every player's tremendous – Harold Land on tenor, Richie Powell on piano, and George Morrow on bass – and titles include two Clifford Brown originals – "Daahoud" and "Joyspring" – plus Roach's "Mildama", plus the standards "I Don't Stand A Ghost Of A Chance", "I Get A Kick Out Of You", and "These Foolish Things Remind Me Of You". CD

Great live work from the Clifford Brown/Max Roach group of the 50s – including material recorded at Basin Street in 1956, but different than the classic Emarcy album of the same name! These Basin Street sides are from April and May of 1956 – and feature a group with Sonny Rollins on tenor sax, alongside Brown's trumpet and Roach's drums, plus bass from George Morrow and piano from the great Richie Powell. Tunes are live broadcasts from the club, complete with an announcer calling the tunes – but are nicely tight, and very much in the spirit of the group's official albums from the time – even though Roach is replaced by drummer Willie Jones on a few of the tracks. Titles include "Valse Hot", "I Feel A Song Comin On", "What's New", and "Sweet Clifford". Added to these are 2 tracks from a Carnegie Hall performance in 1955 – featuring the same group, but with Harold Land in place of Rollins – on titles that include "I Get A Kick Out Of You" and "The Blues Walk". CD

The fluid trumpet of Clifford Brown – presented in a sparkling batch of master takes recorded for Emarcy Records in the 1950s! Brownie only made the scene a few short years, before his untimely early death – but while at Emarcy, he cut some truly revelatory music, the sort of trumpet-based jazz that went onto influence decades of later players, and which still sounds amazingly fresh and vibrant today! And although Universal issued a previous larger set of Brown's music, this 4CD set is nicely compact, and just focuses on the instrumental master takes – no vocal numbers, false starts, or alternates – pure classic Clifford all the way through. Titles are pulled from famous sessions with Max Roach, plus the classic Brownie With Strings album – although the main material here is pulled from seven albums that bore the Roach/Brown name, including tracks released after Clifford's death. 49 tracks in all, beautifully packaged with a 64 page book, in a limited edition tin cover! CD

Seminal west coast recordings by Clifford Brown – recorded in LA in 1954, with a mixture of hard bop and lyricism, in that sparkling mode that Brownie left as his indelible imprint on the west coast scene of the 50s! Players include Bob Gordon on baritone, Stu Williamson on trombone, Zoot Sims on tenor, and Russ Freeman on piano – and Jack Montrose arranged the set. Titles include "Tiny Capers", "Bones For Jones", "Joy Spring", "Finders Keepers", and "Daahoud". CD

Searing early work from Joe McPhee – quite possibly his hardest-hitting recording of the 70s, even if the material wasn't properly issued until 25 years later! The performance was done for radio station WBAI in New York – and it features McPhee, Clifford Thornton, and Byron Morris coming together in an experimental setting that also includes some earlier taped performances by McPhee alongside the live work by the group! There's an energy here that rivals the most aggressive avant work on Impulse Records at its best – a soaring, righteous sound that's got an undercurrent of social change and politics, as you'd find in classics by Archie Shepp or Marion Brown. The remaining members of the group include Mike Kull on piano and Harold E Smith on percussion, and McPhee plays trumpet as well as tenor – on titles that include "Black Magic Man", "Nation Time", "Song For Lauren", "Message From Denmark", "Harriet", and "The Looking Glass 1". CD

A wonderfully hard-storming set – and a record that not only firmly put the Jazz Messengers on the map, but also set a whole new standard for live jazz recording! The group here is the early version of the Messengers – almost co-led by drummer Art Blakey with pianist Horace Silver – and featuring Clifford Brown on trumpet, just a few months before his early death – plus Lou Donaldson on alto and Curley Russell on bass. The presence of alto instead of tenor makes the sound slightly different than later incarnations of the group – and the overall approach is one that virtually defines the shift from straight bop to hardbop in the 50s – a mode that both Blakey and Silver were key in creating. Tracks include "Split Kick", "Quicksilver", "Mayreh", and "A Night In Tunisia". CD features 2 bonus tracks, and great remastering! CD

Kenny may be quiet, but he's never muted – and the record is far from the sleepy session you might guess from the title! The album's a real standout in the Dorham catalog – a set that let's Kenny's trumpet sparkle beautifully in a quartet that includes piano from Tommy Flanagan, bass from Paul Chambers, and drums from Art Taylor – all bringing their own spirit to the record, but really hanging back in the space to let Dorham's sound dominate the record. Kenny's notes are beautifully shaped throughout – in a mode that has echoes of Clifford Brown's sweetness, but which also speaks with a raspier, earthier tone overall! Titles include 2 key Dorham classics – "Lotus Blossom" and "Blue Spring" – plus "Mack The Knife", "My Ideal", "Blue Friday", and "Old Folks". CD

One of Lee Morgan's most sparkling sessions from the early years – a record that already shows a sense of depth and imagination that would take Lee way beyond simple hardbop solo work! There's a sensitivity here that owes something of a debt to Clifford Brown, yet which is much more modernist overall – touched, no doubt, by a set list that features tunes by Gigi Gryce and Benny Golson, and played in a spirit that's similar to the blend of soul jazz and modernism that both of those players were carving out at the time. Morgan's bandmates for the record include George Coleman on tenor and alto, Curtis Fuller on trombone, Ray Bryant on piano, Paul Chambers on bass, and Art Taylor on drums – all in tight formation, but with a sense of relaxed and easy flow that's rare, even in a Blue Note of this vintage! Titles include "You're Mine You", "Just By Myself", "Kin Folks", "City Lights", and "Tempo De Waltz". CD

A killer batch of hardbop tracks – no-nonsense, straight-ahead, and with all the fire of Roach's work with Clifford Brown! The set was recorded a few years after the untimely death of the Brown/Roach group – and although the album's got "Charlie Parker" in the title, there's a lot more going on here than just a bop revival mode. Players include Kenny Dorham, Hank Mobley, and George Coleman – and the album's got that Prestige Records feel from the late 50s, similar to some of Mobley's own work for that label at the time. Titles include "Yardbird Suite", "Confirmation", "Koko", "Billie's Bounce", and "Au Privave". CD also features 4 bonus cuts – "Anthropology", "Tune Up", "This Time The Dream's On Me", and "Raoul". CD

Seminal early work from Sonny Rollins – pulled from his mid 50s Prestige sessions with players who include Clifford Brown on trumpet, Tommy Flanagan and Thelonious Monk on piano, John Coltrane on tenor, and Max Roach and Art Taylor on drums! CD

A crackling bit of hardbop from Sonny Rollins – and a session that has Sonny playing with the Max Roach/Clifford Brown group that included Bud Powell's brother Richie on piano! Sonny had already made a strong name for himself on albums issued under the Roach/Brown tag at the time, and here the group returns the favor by allowing Sonny to lead, and by giving him a good deal of time in the spotlight! Rollins' solo ability is risen to a razor-sharp level for the set – really getting fire, and managing to invent at a speed and sharpness that's simply amazing. Titles include Sonny's classic reading of "Pent-up House", plus "Valse Hot", "Kiss & Run", and "Count Your Blessings". CD

"Moods" is right – as the album's got a wonderfully dark undercurrent, one that makes it one of the most captivating early Three Sounds albums for Blue Note! Pianist Gene Harris leads a trio that includes Andrew Simpkins on bass and Bill Dowdy on drums – and even though the set list includes a few familiar tunes, the overall pitch of the album makes the music really unique. The group play some sweet renditions of "Love For Sale" and "Green Dolphin Street", plus a great reading of Clifford Brown's "Sandu", which works very well as a piano tune. Also includes the tracks "Loose Walk" and "Tammy's Breeze". CD

A great little set compiled by the folks at Swing Journal, with music by Bud Shank, Gerry Mulligan, Russ Freeman, Clifford Brown, Jack Montrose, Chico Hamilton, Jim Hall, Art Pepper, Laurindo Almeida, and more – 24 tracks total. CD

A great set that brings together early material that trombone giant JJ Johnson cut for Blue Note as a leader – sides that already mark his approach to the instrument as one of the most distinct of the time, and which pave the way for all the greatness that Johnson would bring to jazz in years to come! JJ's got a way of blowing his horn here that's almost trumpet-like at time – tight and focused, and perfect for the young bop generation – as he's paired on these cuts with players who include Hank Mobley and Jimmy Heath on tenor, Clifford Brown on trumpet, and either Wynton Kelly, John Lewis, or Horace Silver on piano, depending on the volume. There's plenty of other great surprises too – including a bit of bass from Charles Mingus, on a few cuts that also feature congas from Sabu Martinez – plus drums from Kenny Clarke on all tracks too. Titles on this first volume include include "Turnpike", "Sketch 1", "Capri", "Lover Man", "Get Happy", and "Coffee Pot". CD features alternate takes, too. CD

A great set that brings together early material that trombone giant JJ Johnson cut for Blue Note as a leader – sides that already mark his approach to the instrument as one of the most distinct of the time, and which pave the way for all the greatness that Johnson would bring to jazz in years to come! JJ's got a way of blowing his horn here that's almost trumpet-like at time – tight and focused, and perfect for the young bop generation – as he's paired on these cuts with players who include Hank Mobley and Jimmy Heath on tenor, Clifford Brown on trumpet, and either Wynton Kelly, John Lewis, or Horace Silver on piano, depending on the volume. There's plenty of other great surprises too – including a bit of bass from Charles Mingus, on a few cuts that also feature congas from Sabu Martinez – plus drums from Kenny Clarke on all tracks too. Titles on this this second volume include "Daylie Double", "Groovin", "Viscosity", "Coffee Pot", "It's You Or No One", and "Jay". CD

A crackling bit of hardbop from Sonny Rollins – and a session that has Sonny playing with the Max Roach/Clifford Brown group that included Bud Powell's brother Richie on piano! Sonny had already made a strong name for himself on albums issued under the Roach/Brown tag at the time, and here the group returns the favor by allowing Sonny to lead, and by giving him a good deal of time in the spotlight! Rollins' solo ability is risen to a razor-sharp level for the set – really getting fire, and managing to invent at a speed and sharpness that's simply amazing. Titles include Sonny's classic reading of "Pent-up House", plus "Valse Hot", "Kiss & Run", and "Count Your Blessings". CD

Decades of jazz recordings, pulled together in support of the famous documentary series – with a total of 94 tracks in all! Music from Louis Armstrong, the Original Dixieland Jazz Band, Jelly Roll Morton, Duke Ellington, Jimmie Lunceford, Benny Goodman, Coleman Hawkins, Artie Shaw, Glenn Miller, Tommy Dorsey, Horace Silver, Clifford Brown, Sonny Rollins, Miles Davis, Ornette Coleman, Charles Mingus, Weather Report, Dexter Gordon, Wynton Marsalis, and much more. CD

A wonderfully hard-storming set – and a record that not only firmly put the Jazz Messengers on the map, but also set a whole new standard for live jazz recording! The group here is the early version of the Messengers – almost co-led by drummer Art Blakey with pianist Horace Silver – and featuring Clifford Brown on trumpet, just a few months before his early death – plus Lou Donaldson on alto and Curley Russell on bass. The presence of alto instead of tenor makes the sound slightly different than later incarnations of the group – and the overall approach is one that virtually defines the shift from straight bop to hardbop in the 50s – a mode that both Blakey and Silver were key in creating. Tracks include "Split Kick", "Quicksilver", "Mayreh", and "A Night In Tunisia". CD

Kenny may be quiet, but he's never muted – and the record is far from the sleepy session you might guess from the title! The album's a real standout in the Dorham catalog – a set that let's Kenny's trumpet sparkle beautifully in a quartet that includes piano from Tommy Flanagan, bass from Paul Chambers, and drums from Art Taylor – all bringing their own spirit to the record, but really hanging back in the space to let Dorham's sound dominate the record. Kenny's notes are beautifully shaped throughout – in a mode that has echoes of Clifford Brown's sweetness, but which also speaks with a raspier, earthier tone overall! Titles include 2 key Dorham classics – "Lotus Blossom" and "Blue Spring Shuffle" – plus "Mack The Knife", "My Ideal", "Blue Friday", and "Old Folks". CD

Kenny may be quiet, but he's never muted – and the record is far from the sleepy session you might guess from the title! The album's a real standout in the Dorham catalog – a set that let's Kenny's trumpet sparkle beautifully in a quartet that includes piano from Tommy Flanagan, bass from Paul Chambers, and drums from Art Taylor – all bringing their own spirit to the record, but really hanging back in the space to let Dorham's sound dominate the record. Kenny's notes are beautifully shaped throughout – in a mode that has echoes of Clifford Brown's sweetness, but which also speaks with a raspier, earthier tone overall! Titles include 2 key Dorham classics – "Lotus Blossom" and "Blue Spring Shuffle" – plus "Mack The Knife", "My Ideal", "Blue Friday", and "Old Folks". CD

Way more than just a look at the Premonition recordings of Chicago tenor legend Von Freeman – as the set also features some unreleased tracks, and a bonus DVD too! The package is a great illustration of Freeman's greatness on Premonition – perhaps the one label who really managed to get his sound right – and find a way to capture, in the studio, that deep soul, and long-blown approach to creativity that Freeman brings to the tenor – part of a Chicago lineage that includes Johnny Griffin, Clifford Jordan, and Gene Ammons – all contemporaries of Von who left the Windy City to find fame. Unreleased titles include "This Is Always", "It's Impossible", and "Moose The Mooche" – and other tracks include "Blue Bossa", "I'll Never Be Free", "My Little Brown Book", "I Like The Sunrise", "Blue Pres", "Footprints", "Chant Time", and "Ski-Wee". DVD features a bonus interview with critic Neil Tesser – and footage from an event in which 75th street was renamed "Von Freeman Way"! CD

A hip mix of raunchy blues and rootsy rock – all stretched out over a double-length set that's easily one of John Lee Hooker's loosest albums ever! The album has Hooker playing in a number of settings with hip rock and funk players from the California scene – including Steve Miller, Mel Brown, Clifford Coulter, and others – but in spite of the presence of a few younger stars on the record, the album's still very much Hooker's own – down-home and earthy, with plenty of the rawness and heavy mojo that set Hooker apart from the bar blues artists of his time! Titles include "Doin The Shout", "I Don't Need No Steam Heat", "Pots On, Gas High", "We Might As Well Call It Through", and "Kick Hit 4 Hit Kix U". CD

Very nice 4 CD set that includes all of the classic vocal recordings cut by Helen Merrill for Mercury in the late 50s. There's way too much to mention here, but the set's got some great jazz backing by the likes of Clifford Brown, Johnny Richards, and Gil Evans – plus some more orchestral work by Hal Mooney. CD

One of Lee Morgan's most sparkling sessions from the early years – a record that already shows a sense of depth and imagination that would take Lee way beyond simple hardbop solo work! There's a sensitivity here that owes something of a debt to Clifford Brown, yet which is much more modernist overall – touched, no doubt, by a set list that features tunes by Gigi Gryce and Benny Golson, and played in a spirit that's similar to the blend of soul jazz and modernism that both of those players were carving out at the time. Morgan's bandmates for the record include George Coleman on tenor and alto, Curtis Fuller on trombone, Ray Bryant on piano, Paul Chambers on bass, and Art Taylor on drums – all in tight formation, but with a sense of relaxed and easy flow that's rare, even in a Blue Note of this vintage! Titles include "You're Mine You", "Just By Myself", "Kin Folks", "City Lights", and "Tempo De Waltz". CD