One of the greatest moments of brilliance in Weston's later comeback years – part of a series of trio recordings in which he paid tribute to piano geniuses of years past! This one's quite possibly the best in the series – as it features a strange Monk-ish take on the sound of Ellington – almost picking up where Money Jungle left off, and featuring some of Weston's most adventurous later piano work. The trio features Jamil Nasser on bass and Idris Muhammad on drums, and that rhythm pair give the album a surprising groove – and a solid swing that stays throughout, even in the most modern moments. Titles include "Caravan", "Limbo Jazz", "Chromatic Love Affair", "Heaven", and "Sepia Panorama". CD

One of their best ones, and a tight set of Ellington tracks that works perfectly with their multi-horn style. Oliver Lake, Julius Hemphill, Bamiet Bluiett, and David Murray split up the arrangements, and the tracks include "Lush Life", "Come Sunday", "Prelude To A Kiss", and 2 different versions of "Take The A Train". CD

Music from Benny Carter, Milt Jackson, Freddie Hubbard, McCoy Tyner, Shirley Scott, Charles Mingus, Johnny Hodges, Clark Terry, Earl Hines, Ben Webster, Yuseef Lateef, Pee Wee Russell and more. CD

A pre-Verve crack at the Gershwin songbook – with some help from Duke Ellington and Jimmy McHugh! LP, Vinyl record album

An album of drum-heavy tracks recorded by drummer Panama Francis – who at this point could boast a long career working with jazz luminaries like Duke Ellington, Lucky Millinder, and Cab Calloway. The set's got Francis using his drums to cook up a rock-like beat on a set of instrumentals. Most of the cuts have a honking sax or other instrument up front to create that "rock and roll" groove – but the best numbers feature Francis' drums in a more unfettered setting. Titles include "Exploding Drums", "Hit The Road Jack", "Panama The Drummer Boy", and "Sticks & Stones". LP, Vinyl record album

A new take on Duke Ellington's score for Anatomy Of A Murder, with new arrangements by Bob Freedman, and performed by Herb Pomeroy and his orchestra, plus themes from Perry Mason, M-Squad, Peter Gunn, The Thin Man, 77 Sunset Strip, and more. CD

Tremendous work from saxophonist Paul Gonsalves – one of his rare UK sessions from the 60s, all of which show that he had a fantastic sound that went way beyond his more famous work with Duke Ellington! The style here is tight, hip, and very grooving – work by a quartet that features Gonsalves on tenor, plus Pat Smythe on piano, Kenny Napper on bass, and Ronnie Stevenson on drums – all hitting a soulful hardbop style that's very much like the best Tubby Hayes records from the time! Gonsalves' tone is incredible – with that raspy, almost flatted mode that he used with Ellington – and it really stretches out here with plenty of room for creativity, in a way that makes us wonder why nobody ever got this one issued over on our side of the Atlantic. Titles include "Boom Jackie Boom Chick", "Village Blues", "Poor Butterfly", "Blue PG", and "Taboo". CD

Tremendous work from saxophonist Paul Gonsalves – one of his rare UK sessions from the 60s, all of which show that he had a fantastic sound that went way beyond his more famous work with Duke Ellington! The style here is tight, hip, and very grooving – work by a quartet that features Gonsalves on tenor, plus Pat Smythe on piano, Kenny Napper on bass, and Ronnie Stevenson on drums – all hitting a soulful hardbop style that's very much like the best Tubby Hayes records from the time! Gonsalves' tone is incredible – with that raspy, almost flatted mode that he used with Ellington – and it really stretches out here with plenty of room for creativity, in a way that makes us wonder why nobody ever got this one issued over on our side of the Atlantic. Titles include "Boom Jackie Boom Chick", "Village Blues", "Poor Butterfly", "Blue PG", and "Taboo". Getting' Together is a great hard edged jazz album featuring Wynton Kelly, Jimmy Cobb, Nat Adderley, and Sam Jones lay down a nice soulful groove with a deep bottom, and Gonsalves plays with warmth and imagination throughout. The set includes two of Babs Gonzales' great compositions: "Low Gravy" and "Gettin' Together". CD

One of the best small-group sessions recorded by Paul Gonsalves – a session with a clear Ellington orientation, as you'd expect from a lineup that includes Johnny Hodges, Jimmy Jones, Ray Nance, and Oliver Jackson. Tracks have a much more relaxed and open-ended feeling than some of Duke's work – giving Hodges, Nance, and Gonsalves plenty of room to open up on their solos. Titles include "The Lineup", "Chocataw", "DA Blues", and "Way Way Back". CD

A great small combo set from tenorist Paul Gonsalves – one of his best albums away from Duke Ellington, and a record that really opens up with his tremendous tone on the tenor! The group's a great small combo, with more of a soul jazz groove than usual for Paul – Nat Adderley on cornet, Wynton Kelly on piano, Sam Jones on bass, and Jimmy Cobb on drums – all players who really help Gonsalves find the right sort of vibe! The set includes two of Babs Gonzales' great compositions – "Low Gravy" and "Gettin Together" – and other titles include "Walkin", "Hard Groove", "J&B Blues", and "Yesterdays". LP, Vinyl record album

A great spinoff session from the Duke Ellington group – cool small combo material with Clark Terry on trumpet, Paul Gonsalves on tenor, and Jimmy Woode on bass – almost similar to the players' work for Chess/Argo at the same time! CD

The title's an apt one – as the record features one side of Duke Ellington compositions, and one side of Charlie Parker tunes – all played by bop legend Al Haig in an intimate solo setting! The obscure date is one of Haig's most personal sessions ever – a record that has even more sensitivity than some of his earlier classics, and which shows a surprisingly deep side of his talents in these later years. There's a subtle sort of charm that marks the Japanese origins of the set – and titles include "Yardbird Suite", "Lover Man", "I Remember You", "Sophisticated Lady", and "Prelude To A Kiss". CD

A bold new chapter in the career of vibraphonist Stephon Harris – and proof that he's one of the most amazing players of his generation, one who's always growing into new sounds and styles! Despite the "Duke" in the title here, the work isn't a simple homage to the classics of Ellington – and instead, it uses some lesser-known themes by Duke as vehicles for new waves of color, sound, and tone from Harris – scored in the same soulful way as his brilliant work on Grand Unification Theory from a few years back. The style here is hardly Ellington, and is more a shimmering mix of small combo jazz and strings – headed up mostly by Harris' vibes and marimba, but also featuring Steve Turre on trombone, Anne Drummond on flute, Greg Tardy on clarinet, and Xavier Davis on piano. 3 tracks here are from Harris' own The Gardner Meditations – "Memoirs Of A Frozen Summer", "African Tarantella", and "Dancing Enigma" – and Ellington titles include "Thanks For The Beautiful Land On The Delta", "Portrait Of Wellman Braud", "Bourbon Street Jingling Jollies", "Single Petal Of A Rose", and "Sunset & The Mocking Bird". CD

Features work with Fletcher Henderson And His Orchestra, the Mound City Blue Blowers, Ben Webster, Thelonious Monk, Sonny Rollins, Benny Carter, Max Roach, and Duke Ellington. CD

Overlooked 70s work from pianist Eddie Higgins – a longtime Chicago jazz legend, but actually recording here at a studio up in Lake Geneva! Still, the set's got all the subtle magic that Eddie was bringing to Windy City clubs back in the day – piano lines that were a lot more complex than his earlier work on bigger labels, almost effortless at most time as they tipple off his fingers with gentle care – mellow, but able to evoke generations of jazz in a single tune, while also covering a fair bit of the keyboard too. Tracks include "Greensleeves", "Valsa De Porto Das Caixas", "Air For G String", "Duke Ellington Medley", "Lela", and "How Long Has This Been Going On". CD

A really great live set from alto genius Johnny Hodges – a set that's right up there with some of his best studio albums on Verve at the time! As with those records, Johnny's taking a slight sidestep from the world of Duke Ellington here – working with similar material and familiar players, but also really stretching out on these beautiful solos that focus on his warm, raspy charm on the alto – that quality that made Hodges as important to the sound of mid 50s jazz as Ben Webster or Lester Young on the tenor! The group's a septet, and other players include Lawrence Brown on trombone, Harry Carney on baritone, Al Williams on piano, and Ray Nance on cornet – on titles that include "All Of Me", "Blues For Madeline", "Solitude", "Mood Indigo", "Do Nothing Till You Hear From Me", "Jeep's Blues", "Rockin In Rhythm, and a nice long take on "Perdido". CD

Rare small group work from the great Johnny Hodges – an unissued live set from the start of the 60s, and one that has Johnny working with key Ellington sidemen in a very Ellington-like setting! Solo Hodges could usually take one of two forms – more soulful small group material that has less of the arrangements of his longtime leader, the Duke – and more Ellington-based performances, of which this set is definitely one – as Hodges leads a hip combo with Ray Nance on trumpet, Lawrence Brown on trombone, Harry Carney on baritone, Al Williams on piano, Aaron Bell on bass, and Sam Woodyard on drums. Tunes are almost all numbers by Ellington or Billy Strayhorn, but done in a nice lean style, with key solo performances throughout – and titles include "Rocking In Rhythm", "Jeep Is Jumpin", "Things Ain't What They Used To Be", "Sophisticated Lady", "Mood Indigo", and "Solitude" – plus "Good Queen Bess", "Perdido", and "Autumn Leaves". The sound quality is great – very clear, with a nicely crisp tone on the horn parts, especially Hodges and Carney! CD

Great work as a leader from this legendary Duke Ellington altoist – working here with Ben Webster on tenor, Lawrence Brown on trombone, Emmett Berry on trumpet, Leroy Lovett on piano, and Lloyd Trotman on bass – plus some tracks that Flip Phillips and Al Sears on tenor, and Sonny Green on drums. Titles include "In A Mellow Tone", "I Let A Song Go Out Of My Heart", "I Got It Bad And That Ain't Good", "Sophisticated Lady", and "Solitude". LP, Vinyl record album

An excellent album that features late 30s recordings by some of Duke Ellington's most famous sidemen! The groups on most of these are fairly similar – mostly small group sessions from the larger Ellington outfit – pulled out in ways that give a strong focus on the solo talents of the session leader – and as with other packages in this series, the fidelity is much better than the original singles, and accompanied with full notes on the music! Titles include "Rexatious" and "Lazy Man's Shuffle" by Rex Stewart; "Echoes Of Harlem", "Swing Pan Alley", and "I Can't Believe You're In Love With Me" by Cootie Williams; "The Rabbit's Jump", "Pyramid", and "Jitterbug's Lullaby" by Johnny Hodges; and "Caravan" and "Stompy Jones" by Barney Bigard. LP, Vinyl record album

Includes recordings with the orchestras of Count Basie, Duke Ellington, Louis Armstrong, Oscar Peterson, and Mal Waldron. LP, Vinyl record album

An amazing set – really really beautiful, and a whopping 10CDs' worth of material that Billie Holiday recorded during the 78rpm era – for labels that include Columbia, Okeh, Vocalion, Decca, and Parlophone! The package has an oversize cover, with a giant book in the middle – and the set features Holiday singing with Duke Ellington, Teddy Wilson Eddie Heywood, Benny Goodman, and her own group as well. 239 tracks in all – and a bargain at this price! CD

Pretty great sounds from the legendary Antonio Carlos Jobim – an album cut a bit later than his bossa years, but with a darkly sophisticated sound that's pretty darn compelling! The album features larger orchestrations by Claus Ogerman, and in a way, it's similar to the Jobim album on Decca from 1973 (aka Maita Pere) – in that it's got all the simple elements of Jobim's earlier bossa scoring, flushed out into moodier orchestral forms that we'd rank right up there with the modernist work of Gil Evans or Duke Ellington. A few cuts have a breezier sparer sound, and you'll hear English versions of some older bossa tunes. Titles include "Dreamer", "Canta Mais", "Olha Maria", "Wave", "Two Kites", "This Happy Madness", "Song Of The Sabia", "Estrada Do Sol", "Voce Vai Ver", "Off Key", and "Triste". LP, Vinyl record album

One of the most compelling tributes to Duke Ellington we've ever heard – a performance of his music that really deviates from the sound of the original, yet which also keeps all the complicated spirit of Duke intact! Trumpeter Franz Koglmann is really at the helm of the core groups on the set – leading the Monoblue Quartet on some tracks, an ensemble that features Tony Coe on clarinet and tenor, Burkhard Stangl on guitar, and Klaus Koch on bass – and the Pipe Trio on others, with Rudolf Ruschel on trombone and Raoul Herget on tuba. Lee Konitz joins in on alto with both ensembles, save for one track – and the whole record is a brilliant piano-less and drum-less outing that has the horns coming together in ways that are almost inspired by Jimmy Giuffre, but which take on some richer chromatic tones in their exploration of Ellington themes. The whole record really opens up the Ellington concept tremendously – and titles include "Love Is In My Heart", "Lament For Javanette", "Ko Ko", "Zweet Zurzday", "Pyramid", and "The Mooche" – plus a few variations on "Thoughts About Duke", an original by Koglmann. CD

Rare 60s work from the world of Polish vibist Jerzy Milian – not sounds from his own group, but that of the Polish Radio dance band – headed up by Edward Czerny, and featuring here a whole set of original compositions and arrangements by Milian! Jerzy plays some solo vibes on the set, and there's also solo work from Albert Pradella on tenor, Franciszek Kowalski on trumpet, and Waclaw Lesicki on flute – players who get some brief time in the spotlight, over work that's mostly in an ensemble mode overall. The approach is a bit like that of Gustav Brom at the same time – lively, swinging, and kind of an Eastern European extrapolation of modes borrowed from Duke Ellington and Count Basie, with all the rhythm and color that would imply! Titles include "Zabwa Prazy Swiecach", "Spaicy Dorozkarz", "Dwaj Panowie M", "Koleka W Grenoble", "Mala Suita Na Big Band", and "Spacery Z Pudlem". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". LP, Vinyl record album

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this first volume include "Sue's Changes", "Devil Blues", and "Duke Ellington's Sound Of Love". CD

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this first volume include "Sue's Changes", "Devil Blues", and "Duke Ellington's Sound Of Love". LP, Vinyl record album

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. CD

Key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. LP, Vinyl record album

Two different concert recordings from the great Charles Mingus – recorded with the space of more than a decade between them, and showing the continual evolution of his genius! The first 2CDs bring together a sublime recording by German Radio in Bremen from 1964 – work that's from that important European tour that included the soon-to-be late Eric Dolphy on alto, flute, and bass clarinet – as part of a fiery sextet that also includes Johnny Coles on trumpet, Clifford Jordan on tenor, and Jaki Byard on piano. All players are fantastic – getting that push with Mingus that could often make soloists even more dynamic with the leader at the helm than on their own recordings – as you'll hear on the extended concert readings of "Hope So Eric", "Fables Of Faubus", "Parkeriania", and "Meditations On Integration" – plus a shorter solo by Byard. Mingus is at the helm of a different, but equally great group on the 1975 concert – with Jack Walrath on trumpet, George Adams on tenor, Don Pullen on piano, and Dannie Richmond on drums (as on just about every Mingus recording!) The politics of the 64 performance are still in place, with a slight shift – and they're mixed with some of the late Mingus' love of Duke Ellington, who gets a tribute here in a few spots, but with some great touches by Charles. Most tracks are nice and long – and titles include "Remember Rockefeller At Attica", "Devil Blues", "Duke Ellington's Sound Of Love", "Black Bat & Poles", "For Harry Carney", "Sue's Changes", and "Free Cell Block F Tis Nazi USA". CD

A wonderful later album by Charles Mingus – recorded under the supervision of vibist Lionel Hampton, who's also playing on the set! The album's got a rolling groove that's a bit different from other Mingus work of the time – possibly a bit more optimistic and warm, although still carried off with a nice edge in the arrangements. Players include Woody Shaw, Ricky Rod, Dannie Richmond, and even Gerry Mulligan – and the use of vibes brings a new sense of tone and color to Mingus' world, in a way that we really wouldn't expect. Titles include "Just For Laughs (parts 1 & 2)", "Slop", "Caroline Keikke Mingus", "Farewell Farewell", "Duke Ellington's Sound Of Light", and "Fables Of Faubus". CD

Charles Mingus at Carnegie Hall – but playing here with relaxed and intimate feel that's not what you might expect from the staid setting! The album features 2 long tracks – both done in more of a jam session mode than any other Charles Mingus recordings we can think of. Both numbers are Ellington classics – "C Jam Blues" and "Perdido" – showcasing Mingus' late fascination with the Duke, but in a way that still preserves all of the modern inventions of his own earlier work. As on much of the best Mingus albums from the time, there's a real focus on the strengths of the soloists here – players who include Roland Kirk on tenor and stritch, Hamiet Bluiett on baritone, Jon Faddis on trumpet, John Handy on alto and tenor, Charles McPherson on alto, and Don Pullen on piano – all of whom really play with some sharp edges and bold notes! CD

Charles Mingus at Carnegie Hall – but playing here with relaxed and intimate feel that's not what you might expect from the staid setting! The album features 2 long tracks – both done in more of a jam session mode than any other Charles Mingus recordings we can think of. Both numbers are Ellington classics – "C Jam Blues" and "Perdido" – showcasing Mingus' late fascination with the Duke, but in a way that still preserves all of the modern inventions of his own earlier work. As on much of the best Mingus albums from the time, there's a real focus on the strengths of the soloists here – players who include Roland Kirk on tenor and stritch, Hamiet Bluiett on baritone, Jon Faddis on trumpet, John Handy on alto and tenor, Charles McPherson on alto, and Don Pullen on piano – all of whom really play with some sharp edges and bold notes! LP, Vinyl record album

Charles Mingus at Carnegie Hall – but playing here with relaxed and intimate feel that's not what you might expect from the staid setting! The original album features two long tracks – both done in more of a jam session mode than any other Charles Mingus recordings we can think of. Both numbers are Ellington classics – "C Jam Blues" and "Perdido" – showcasing Mingus' late fascination with the Duke, but in a way that still preserves all of the modern inventions of his own earlier work. As on much of the best Mingus albums from the time, there's a real focus on the strengths of the soloists here – players who include Roland Kirk on tenor and stritch, Hamiet Bluiett on baritone, Jon Faddis on trumpet, John Handy on alto and tenor, Charles McPherson on alto, and Don Pullen on piano – all of whom really play with some sharp edges and bold notes! This great expanded version features more very long tracks – over 70 minutes of unreleased music, with versions of "Celia", "Big Alice", "Fables Of Faubus", and "Peggy's Blue Skylight" – as well as Mingus' introduction of the music. CD

Charles Mingus at Carnegie Hall – but playing here with relaxed and intimate feel that's not what you might expect from the staid setting! The original album features two long tracks – both done in more of a jam session mode than any other Charles Mingus recordings we can think of. Both numbers are Ellington classics – "C Jam Blues" and "Perdido" – showcasing Mingus' late fascination with the Duke, but in a way that still preserves all of the modern inventions of his own earlier work. As on much of the best Mingus albums from the time, there's a real focus on the strengths of the soloists here – players who include Roland Kirk on tenor and stritch, Hamiet Bluiett on baritone, Jon Faddis on trumpet, John Handy on alto and tenor, Charles McPherson on alto, and Don Pullen on piano – all of whom really play with some sharp edges and bold notes! This great expanded version features more very long tracks – over 70 minutes of unreleased music, with versions of "Celia", "Big Alice", "Fables Of Faubus", and "Peggy's Blue Skylight" – as well as Mingus' introduction of the music. CD

An unusual chapter in the label-hopping career of Charles Mingus – a one-off date recorded for Mercury right after Mingus' legendary sessions for Columbia! The format here may well be Mingus' most ambitious to date – as the album features larger groups than before, exploring a range of musical ideas that run from Charles' own highly political expressions of the Civil Rights era to some of his landmark explorations of Duke Ellington! As always, the individual players in the group are given a strong voice in the proceedings – and the record bristles with energy from solos by Ted Curson, Eric Dolphy, Booker Ervin, Jimmy Knepper, Yusef Lateef, and a young Joe Farrell – as well as vocal performances by Lorraine Cousins, who sings on the classic "Weird Nightmare" and the haunting "Eclipse". A tremendous record throughout – filled with life, imagination, and boundless creativity – with titles that include "Mingus Fingus no. 2", "Weird Nightmare", "Eclipse", "Bemoanable Lady", "Half Mast Inhibition", and "Prayer for Passive Resistance". LP, Vinyl record album

Comprehensive set that covers the full range of Mingus' great recordings for Atlantic, including stuff from many hard to find albums that you won't find easily on LP. The track list is virtually a catalog of his greatest recordings, 6CDs worth of tracks including: "Pithecanthropus Erectus", "Profile Of Jackie", "Haitian Fight Song", "Reincarnation Of A Lovebird", 'Wednesday Night Prayer Meeting", "Cryin' Blues", "Devil Woman", "Wham Bam Thank You Ma'am", "Passions Of A Woman Loved", "Duke Ellington's Sound Of Love", "Better Git Hit In Your Sould", "Tonight At Noon", "Sue's Changes", "Canon", "Free Cell Block F, 'Tis Nazi USA", "Goodbye, Porkpie Hat", "Passions Of A Man" and the spoken word number "Mingus On Mingus" which is Mingus himself looking back on his career. Well done liner notes, too, in a nice tri-fold gatefold package. CD

Comprehensive 3 LP set that covers the full range of Mingus' great recordings for Atlantic, including stuff from many hard to find albums that you won't find easily on LP. The track list is virtually a catalog of his greatest recordings, with 18 tracks in all: "Pithecanthropus Erectus", "Profile Of Jackie", "Haitian Fight Song", "Reincarnation Of A Lovebird", 'Wednesday Night Prayer Meeting", "Cryin' Blues", "Devil Woman", "Wham Bam Thank You Ma'am", "Passions Of A Woman Loved", "Duke Ellington's Sound Of Love", "Better Git Hit In Your Sould", "Tonight At Noon", "Sue's Changes", "Canon", "Free Cell Block F, 'Tis Nazi USA", "Goodbye, Porkpie Hat", "Passions Of A Man" and the spoken word number "Mingus On Mingus" which is Mingus himself looking back on his career. Well done liner notes, too, in a nice tri-fold gatefold package. LP, Vinyl record album

An unusual chapter in the label-hopping career of Charles Mingus – a one-off date recorded for Mercury right after Mingus' legendary sessions for Columbia! The format here may well be Mingus' most ambitious to date – as the album features larger groups than before, exploring a range of musical ideas that run from Charles' own highly political expressions of the Civil Rights era to some of his landmark explorations of Duke Ellington! As always, the individual players in the group are given a strong voice in the proceedings – and the record bristles with energy from solos by Ted Curson, Eric Dolphy, Booker Ervin, Jimmy Knepper, Yusef Lateef, and a young Joe Farrell – as well as vocal performances by Lorraine Cousins, who sings on the classic "Weird Nightmare" and the haunting "Eclipse". A tremendous record throughout – filled with life, imagination, and boundless creativity – with titles that include "Mingus Fingus no. 2", "Weird Nightmare", "Eclipse", "Bemoanable Lady", "Half Mast Inhibition", and "Prayer for Passive Resistance". CD

An unusual chapter in the label-hopping career of Charles Mingus – a one-off date recorded for Mercury right after Mingus' legendary sessions for Columbia! The format here may well be Mingus' most ambitious to date – as the album features larger groups than before, exploring a range of musical ideas that run from Charles' own highly political expressions of the Civil Rights era to some of his landmark explorations of Duke Ellington! As always, the individual players in the group are given a strong voice in the proceedings – and the record bristles with energy from solos by Ted Curson, Eric Dolphy, Booker Ervin, Jimmy Knepper, Yusef Lateef, and a young Joe Farrell – as well as vocal performances by Lorraine Cousins, who sings on the classic "Weird Nightmare" and the haunting "Eclipse". A tremendous record throughout – filled with life, imagination, and boundless creativity – with titles that include "Mingus Fingus no. 2", "Weird Nightmare", "Eclipse", "Bemoanable Lady", "Half Mast Inhibition", and "Prayer for Passive Resistance". LP, Vinyl record album

An unusual chapter in the label-hopping career of Charles Mingus – a one-off date recorded for Mercury right after Mingus' legendary sessions for Columbia! The format here may well be Mingus' most ambitious to date – as the album features larger groups than before, exploring a range of musical ideas that run from Charles' own highly political expressions of the Civil Rights era to some of his landmark explorations of Duke Ellington! As always, the individual players in the group are given a strong voice in the proceedings – and the record bristles with energy from solos by Ted Curson, Eric Dolphy, Booker Ervin, Jimmy Knepper, Yusef Lateef, and a young Joe Farrell – as well as vocal performances by Lorraine Cousins, who sings on the classic "Weird Nightmare" and the haunting "Eclipse". A tremendous record throughout – filled with life, imagination, and boundless creativity – with titles that include "Mingus Fingus no. 2", "Weird Nightmare", "Eclipse", "Bemoanable Lady", "Half Mast Inhibition", and "Prayer for Passive Resistance". LP, Vinyl record album

Includes the songs "Nostalgia In Times Square", " Moanin'", "Self Portrait In 3 Colors", "Don't Be Afraid, The Clown's Afraid, Too", " Duke Ellington's Sound Of Love", "Mingus Fingers", "Weird Nightmare", "Open Letter To Duke", "Invisible Lady", and "Ecclusiastics". CD

For Ellington is, obviously, a tribute to the Duke – but it's done in a really creative way that gets past any simple rehashed versions of his tunes! The MJQ's approach here is totally great – very different rhythmically than classical Ellington – in a way that pulls apart familiar tunes, and uses them as completely fresh vehicles for a new sort of improvisation. Milt Jackson's vibes are especially wonderful – full of color, and quite dramatic at times – and titles include the original numbers "Maestro EKE" and "For Ellington" – plus "Jack The Bear", "Sepia Panorama", "Rockin In Rhythm", and "It Don't Mean A Thing". CD

A legendary album from the LA jazz underground of the 80s – one of a rare few sets recorded as a leader by the great pianist Nate Morgan! Morgan's something of a lost talent, but was a key part of the scene that was forming around Nimbus Records at the time – a great musician who has the same spiritual drive as giants like McCoy Tyner and Stanley Cowell, but working here in a spirit that's very much his own! On this set, Nate leads a quintet with Jesse Sharps on reeds and Danny Cortez on trumpet – and the record's filled with spiraling modal grooves that glisten with the best of the 70s underground spiritual vibes! The set's a great batch of original compositions by Morgan, including "UGMAAGER", "Impulse", and "Mass Madness" – and also includes versions of Herbie Hancock's "One Finger Snap" and Duke Ellington's "Come Sunday". CD

Ellington numbers all around, played by a great Japanese 70s big band, headed up by Toshio Mori! The sound here would make the late Duke proud – as Mori and the group perform 8 Billy Strayhorn numbers all with just the right mix of ensemble soul and modern touches that made the later Ellington group such a thrill. And while you might be expecting a gimmick or some sort of a stylistic move to mark the album as particularly Japanese or 70s-oriented – it's a just a great straight ahead big band session, done in a very respectful style. Titles include "UMMG", "After All", "Lotus Blossom", "Chelsea Bridge", and "Snibor". CD

Jazz music didn't start on vinyl – but the advent of the long-playing album really helped the music take off and grow – expanding out to much longer performances than were allowed by the 78rpm single, which in turn allowed artists to reach out to new and exciting styles from the 50s onward! The long legacy of the relationship between vinyl and jazz is explored here in ways that go beyond the simple details that most jazz record collectors already know – as Darren Mueller looks at specific case studies within the world of labels and artists to highlight some of the challenges and crossroads that helped define jazz on record. One chapter looks at the early albums of Prestige Records and some of the mistakes along the way, the recording of Duke Ellington At Newport, the 50s albums of Dizzy Gillespie, Cannonball Adderley's famous live recording in San Francisco, and the recording challenges of Mingus Ah Um. There's also a great chapter on "Jazz As A Culture Of Circulation" – and the book has a discography and other details too. Softcover edition is 435 pages. Book

A pretty obscure session by Gerry – recorded in 1955, and featuring Jon Eardly on trumpet, Zoot Sims on tenor, and Bob Brookmeyer on trombone. Gerry actually plays a bit of piano, in addition to his usual baritone – and the set bubbles with a lightly swinging, slightly modern feel that's nice and clean. Titles include "Makin Whoopee", "Demanton", "La Plus Que Lente", and a pretty great "Duke Ellington Medley". LP, Vinyl record album

A pretty obscure session by Gerry – recorded in 1955, and featuring Jon Eardly on trumpet, Zoot Sims on tenor, and Bob Brookmeyer on trombone. Gerry actually plays a bit of piano, in addition to his usual baritone – and the set bubbles with a lightly swinging, slightly modern feel that's nice and clean. Titles include "Makin Whoopee", "Demanton", "La Plus Que Lente", and a pretty great "Duke Ellington Medley". LP, Vinyl record album

One of Oliver Nelson's hippest albums – a bold statement of righteous energy, and a fantastic summation of all the genius he'd created during the 60s as an arranger for other people's records! The record is almost at a Duke Ellington level – a complex yet soulful suite of tracks for the post-60s years – complete with some sound effects of rioting and urban strife at the beginning, and a mix of modern, modal, and compositional styles that bursts out with pride and power that we wouldn't have heard in Nelson's music a decade before! The soloists are great – and the album features wonderful read work from John Klemmer, Frank Strozier, and Nelson himself – on great original titles that include "Self Help Is Needed", "I Hope In Time A Change Will Come", "Requiem Afterthoughts", "Lamb Of God", and "Martin Was A Man A Real Man". CD

One of Oliver Nelson's hippest albums – a bold statement of righteous energy, and a fantastic summation of all the genius he'd created during the 60s as an arranger for other people's records! The record is almost at a Duke Ellington level – a complex yet soulful suite of tracks for the post-60s years – complete with some sound effects of rioting and urban strife at the beginning, and a mix of modern, modal, and compositional styles that bursts out with pride and power that we wouldn't have heard in Nelson's music a decade before! The soloists are great – and the album features wonderful read work from John Klemmer, Frank Strozier, and Nelson himself – on great original titles that include "Self Help Is Needed", "I Hope In Time A Change Will Come", "Requiem Afterthoughts", "Lamb Of God", and "Martin Was A Man A Real Man". LP, Vinyl record album

The essence of Duke Ellington – but in the hands of William Parker, it's a very different thing than you might expect! The group here is larger than usual for Parker – a great ensemble used in ways that definitely echo some of Ellington's more inventive scoring, especially his mature use of tone and color – yet both the solos and ensemble moments go way way farther than anything the Duke might have imagined – all the bold, righteous brilliance that we've come to love in Parker's own recordings – focused back on one of his greatest inspirations. The lineup is quite impressive – as musicians include Roy Campbell on trumpet, Ras Moshe on tenor and soprano, Rob Brown and Darius Jones on alto, Sabir Mateen on clarinet and tenor, Steve Swell on trombone, Dave Burrell on piano, Hamid Drake on drums, and Parker himself on bass – and titles include "Take The Coltrane", "Essence Of Sophisticated Lady/Sophisticated Lady", "Caravan", "Essence Of Ellington", "Take The A Train/Ebony Interlude", and "Portrait Of Louisiana". CD

Three later albums from pianist Horace Parlan – all cut overseas, many years after his early work for Blue Note! On Joe Meets The Rhythm Section, the "Joe" is Dutch tenorist Joe Van Enkhuizen, who's a great fit with a trio that features Horace Parlan on piano, Rufus Reid on bass, and Al Harewood on drums! The album's got that subtle approach that marks Parlan's later years – a less all-out style than his start on Blue Note, but one that's maybe even more rewarding if you're willing to let yourself slide into it – something that's easy to do when you've got Joe pointing the way with his well-blown, raspy-edged tenor! Reid is mighty nice too – with those instantly-deep notes that always grab us strongly when he's recorded this well – the sort of presence that most other bassists would need to be electric to reach. Titles include "Alfie's Theme", "Bluesville", "FSR", "Wadin", and "Willow Weep For Me". Ellington Ballads is a nice little record that's very much along the lines of the duet sessions that pianist Horace Parlan cut with Archie Shepp – done with a similar open, soulful style that really brings a lot of personal energy to these tunes penned by Duke Ellington! This might be the first time we've ever heard tenorist Joe Van Enkhuizen, but he's a surprisingly great player – and one who carves out these raspy lines on his instrument that fit really well with the well-crafted lines from Parlan's piano – a lot more subtle and spacious than during his Blue Note years, but maybe even more powerful because of that. Titles include "Serenade To Sweden", "I Got It Bad", "Prelude To A Kiss", "Melancholy", "Sophisticated Lady", and "Creole Blues/Tonight I Shall Sleep". Pannonica is a tight little live set from pianist Horace Parlan – recorded with a wonderful trio that features Reggie Johnson on bass and Alvin Queen on drums – both players who seem to effortlessly match Parlan's shifts at every stage of the proceedings! The tracks are relatively long, and showcase all those changes that Horace had made on the European scene since his earlier years on Blue Note – that move towards warmer, more lyrical elements in his music – but still shaped with his ear for soulful modernism too. The titles are all familiar, but served up at the level that can make the right sort of live piano date sound so great – on selections that include "Hi Fly", "Who Cares", "No Greater Love", and "Pannonica". CD

A nice little record that's very much along the lines of the duet sessions that pianist Horace Parlan cut with Archie Shepp – done with a similar open, soulful style that really brings a lot of personal energy to these tunes penned by Duke Ellington! This might be the first time we've ever heard tenorist Joe Van Enkhuizen, but he's a surprisingly great player – and one who carves out these raspy lines on his instrument that fit really well with the well-crafted lines from Parlan's piano – a lot more subtle and spacious than during his Blue Note years, but maybe even more powerful because of that. Titles include "Serenade To Sweden", "I Got It Bad", "Prelude To A Kiss", "Melancholy", "Sophisticated Lady", and "Creole Blues/Tonight I Shall Sleep". CD

Nicely stripped-down work from the great Oscar Peterson – a set of well-recorded duets with bassist Niels-Henning Orsted Pedersen – and titles include one very long "Duke Ellington Medley"! LP, Vinyl record album

An interesting LP, where Bethlehem pulled together two previous 10" sessions led by bassists for one LP! Pettiford's Basically Duike is a beautiful set – ostensibly a session of Ellington material, but one that features some great arrangements that really blow past the obvious! The group's an octet, with Pettiford leading trumpeters Clark Terry & Joe Wilder, trombonist Jimmy Cleveland, clarinetist Jimmy Hamilton, and alto saxophonist Dave Schildkraut – with Earl Knight on piano, taking Ellington's place in the arrangements. Titles include 2 Pettiford originals – "Tamalpais" and "Swing Until The Girls Come Home" – plus a Terry number called "Chuckles", and the tracks "Mood Indigo" and "Jack The Bear". The second side is an obscure side from Red Mitchell, a tight little sextet session featuring a group of LA players that includes Zoot Sims, Bob Brookmeyer, Claude Williamson, Stan Levey and Conte Candoli. The set cooks nicely, a snapping west coast bop side that's hard to come by in any format. Titles include "Happy Minor", "Bluesology", "Kelly Green" and "Scrapple From The Apple". LP, Vinyl record album

A surprising Bud Powell album for Reprise Records – and one of the label's hippest jazz titles ever! When Frank Sinatra first started up the Reprise imprint, he let Duke Ellington do a bit of A&R for the jazz division – and one of the first things Ellington did was capture the great Bud Powell in his then-local setting of Paris – in this rough edgey session that turned out to be one of Powell's last albums, and one of his best from the 60s. The record is nothing fancy on the outside – just simple piano trio versions of jazz standards like "Parisian Thoroughfare", "I Can't Get Started", "Jordu", and "Dear Old Stockholm" – but Powell's dark genius turns the tracks into jagged little razors, cutting with an emotional depth that's quite surprising. Duke Ellington produced – and trio members include Gilbert Rovere on bass and Carl Fields on drums. LP, Vinyl record album

Rare material recorded in Paris, 14 tracks produced by Duke Ellington – with Bud Powell on piano, Gilbert Rovere on bass, and Kansas Fields on drums. CD