Buddy Collette's definitely a man of many parts here – and many talents too, considering the reedwork on the set! Buddy plays alto, tenor, clarinet, and flute – using the horns with wonderful invention that really showcases his unique style of the time – that mix of modern and playful modes you'd hear in the Chico Hamilton group when Collette was around! The album features a few different groups, too – with players who include Gerald Wilson on trumpet, Ernie Freeman or Gerald Wiggins on piano, Red Callender on bass, and Larry Bunker on drums. Titles include "Ruby", "Cycle", "Cheryl Ann", "Jazz City Blues", "Zan", and "Jungle Pipe". CD

A beautiful name for a beautiful record – a classic set of hardbop material from John Coltrane's early years as a leader – and a session that has him working with Donald Byrd on trumpet, Red Garland on piano, Paul Chambers on bass, and Art Taylor on drums! The album's got a beautifully laidback feel that prefaces some of the Coltrane's more exploratory work on Impulse and Atlantic – but one that still also has the earthy, straight ahead feel of his best early years on Prestige – a great combination that makes the record a key moment in the early career of The Great One. Tracks are all quite long – not exactly blowing session tunes, but done with a feel that's more open than some of the other Coltrane albums of the time – and titles include "Black Pearls", "Lover Come Back To Me", and "Sweet Sapphire Blues". CD

John Coltrane live – in a setting that really shows the tenorist starting to stretch out a lot – almost hitting some of the freer modes of a few years later, but still keeping things swinging throughout! The rhythm section is superb – that legendary lineup of Jimmy Garrison on bass, McCoy Tyner on piano, and Elvin Jones on drums – creating this magical flow that really sets the tenor free – stretching out in a take of "Bye Bye Blackbird" that really transforms the tune – matched by a equally great reading of "Traneing In". Each long track takes up a side of the record – and both were recorded live in Europe in 1962. CD

A great meeting of tenor sax talents old and young – as the up-and-coming John Coltrane plays alongside Paul "Vice Pres" Quinichette – in a classic Prestige session of well-blown saxophone work! The rhythm section on the album features Mal Waldron on piano, Julian Euell on bass, and Ed Thigpen on drums – but the real focus here is on the tenor giants in the title – working together in warm spirit that's surprisingly well matched! Titles include "Sunday", "Cattin", "Anatomy", and "Vodka". CD

Classic early John Coltrane for Prestige – less a bold statement as a leader than a strong batch of blowing session-styled tracks that show how well Coltrane could hold his own with more established players! The groups on the set vary from track to track – and feature players that include Sahib Shihab, Mal Waldron, Red Garland, Paul Chambers, and Al Heath – plus underappreciated Philly trumpeter Johnnie Splawn. Trane's in great form here – even though the overall set's a bit less structured than some of his later albums – and his tone and solo approach are already stepping out from the rest of the pack with great vigor! Titles include "Bakai", "Time Was", "Straight Street", and "Chronic Blues". LP, Vinyl record album

A beautiful little album from the young John Coltrane, and one that hides its strong sense of depth behind a familiar jazz standard used as a title! In some way, the record is almost experimental for the time – as side one features the tenor of Coltrane alongside just the bass of Earl May and drums of Art Taylor – a saxophone trio setting that Sonny Rollins would used in a more progressive mode, but which here allows Coltrane to demonstrate his unique tenor phrasing on ballads, but in ways that are even set more free than his earlier material with Miles Davis. Side two adds in the piano of Red Garland, alongside bass from Paul Chambers, and drums from either Albert Heath or Louis Hayes – and the trumpet of Donald Byrd joins in on one track too. Trio tracks include "I Love You" and "Like Someone In Love", as well as the original "Trane's Slow Blues" – and Byrd plays on "Lush Life", and steps out on "I Hear A Rhapsody". LP, Vinyl record album

A great addition to the live material the John Coltrane Quartet recorded for Impulse Records in the early 60s – long, live tracks from a Parisian concert, with performances that are extremely long and open-ended! The group isn't totally free – as free as they'd be on some of their overseas live performances a few years later – but they already stretch out magnificently on long takes of "Mr PC", "The Inch Worm" and "Every Time We Say Goodbye" – all with extremely expressive solos from Coltrane, plus piano from McCoy Tyner, bass from Jimmy Garrison, and drums from Elvin Jones! CD

A bold early statement from a young John Coltrane – and an album that really has him expanding his talents as a tenor soloist! Coltrane's working here in open-ended quartet format – with backing from the Red Garland trio that includes Paul Chambers and Art Taylor – on a set of longer tunes that really let the young Trane stretch out on his solos, unobstructed by any other horns in the lineup. There's a nice mix of hardbop ideals, gentle ballads, and personal soul to the set – and titles include Coltrane's classic reading of Tadd Dameron's "Good Bait", plus "I Want To Talk About You", "Russian Lullaby", and "Theme For Ernie". LP, Vinyl record album

Excellent material from Sonny Criss' late 60's comeback period! By this point, Criss had a sound, style, and maturity that was unmatched by any of his LA contemporaries – a way of blowing the alto that was neither boppish, nor cliched in R&B modes – and instead burst forth with a sense of soulful sophistication that was quite unique! Sonny's sound here is incredible throughout – a clear, clean approach to his instrument that is quite different than his style of a few years before – and he's set up in a great little combo that includes Hampton Hawes on piano, Monty Budwig on bass, and Shelly Mann on drums. Titles include the killer "California Screamin" – plus "I'll Catch The Sun", "Blue Sunset", "Cry Me A River", and "Don't Rain On My Parade". CD

A beautiful album of material by Tadd Dameron – and one that still stands as one of his greatest moments! The record features 5 long readings of classic Dameron compositions – like "The Scene Is Clean", "Fontainebleau", and "Delerium" – all played by a great little group that includes Dameron on piano, plus Joe Alexander on tenor, Sahib Shihab on alto, Kenny Dorham on trumpet, and Henry Coker on trombone. CD

A sublime early set from John Coltrane – and one of Tadd Dameron's greatest moments on record ever! The session's a laidback quartet one – with John Simmons on bass and Philly Joe Jones on drums, completing the group with Dameron on piano and Trane on tenor – all coming together in a style that's loose, but still quite sharp overall – especially given Coltrane's tremendous tone, which really helps take the record to the next level from the very first moment it comes into the mix! Dameron's piano is strong, but subtle – and his compositions are what really make the record great – tunes that include "Soultrane", "Mating Call", "Romas", "Super Jet", and "On A Misty Night". CD

A record that's virtually the blueprint for the sound of Hammond organ and tenor sax in soul jazz– the first of Eddie Lockjaw Davis' great run of cookbook albums for Prestige! The record features Lockjaw's gutsy tenor in a group alongside Jerome Richardson's lighter flute – both dancing wonderfully together over organ lines from a young Shirley Scott – playing here with a style that's a bit earthier and more bluesy than some of her later work. Rhythm is by George Duviver on bass and Arthur Edgehill on drums – and tracks include the classic 12 minute jammer "In The Kitchen", plus shorter tracks "Three Deuces", "The Chef", and "Have Horn, Will Blow". CD features bonus track "Avalon". CD

Volume 2 of Lockjaw's classic early Cookbook sessions – cut for Prestige in a key transitional moment, when Lock was trying to break past the R&B roots of earlier years, and emerge as a more sophisticated jazz soloist, capable of carrying an idea way past the short format of singles and jukebox sides. The sessions provide a perfect format for such an effort – as the tracks are long and open-ended, and match Eddie with a great quintet that includes Shirley Scott on organ and Jerome Richardon on flute. Includes the classic "The Rev", plus "Stardust", "Skillet", and "The Broilers". Includes the bonus track "Willow Weep For Me". CD

Griff and Lock are playing head to head here – right in their classic "tuff tenors" mode, although not recorded Live at Mintons! Rhythm is by Norman Simmons, Vic Sproles, and Ben Riley – and the album's actually a bit gutsier and more freewheeling than some of their earlier sets, the ones with a bit more Monk work. Titles include "What's Happening?", "63rd Street Theme", "Pull My Coat", and "Hey Jim!". CD features a bonus version of "Billie's Bounce" – one that runs for nearly 12 minutes! CD

Lockjaw and Griff were a mighty team together – and their records from the 60s cook with incredible intensity. This great set was recorded at Minton's Playhouse in Harlem, on January 6, 1961 – as part of a marathon live session that was a big seller for Prestige. The group's incredible – a mixture of hardbop and moderism that's unstoppable – and all tracks are long, all with incredible two-tenor solo sections, plus some nice soulful piano from Junior Mance. Titles include "Bingo Domingo", "Straight No Chaser", "I'll Remember April", and "Light & Lovely". CD

Don't pass this one up! Although lots of other albums by Eddie Lockjaw Davis are laidback quartet and quintet sessions, done in a soul jazz organ/tenor mode – this session features Eddie working with stunning bigger band backings, in a searingly soulful sound that's simply incredible! The leadoff track, "Trane Whistle", has Lockjaw really working new waves of sound into his tenor sax – screaming the horn in a way that you thought you'd never hear, and playing with tones that are a lot darker than usual! The set moves on from there in a nice batch of material that includes "Whole Nelson" and "Stolen Moments", two fantastic originals by Oliver Nelson, who also arranged the album – and takes a great deal of responsibility for the strength of the set. The record shows a whole new side of Davis' talents – one that was barely if ever recorded like this again – and which is made even better by the presence of freshly modern players that include Eric Dolphy, Richard Williams, Melba Liston, and Roy Haynes. Great stuff! CD

Bluesy quartet material by Lockjaw, with his combo that featured Shirley Scott on organ and Arthur Edgehill on drums. The tracks are standards, but Davis plays them with a nice deep soulful sound, reaching deeply into his tenor, wrenching out hard-edged notes that drip with a deep rich emotion. Titles include "I'll Never Be The Same", "Old Devil Moon", "Too Close For Comfort", "Tangerine", and "But Not For Me". CD

A seminal set from the young Miles Davis – working here on one of his legendary pairings with tenorist John Coltrane, who's equally important to the sound of the session as Miles! Tracks are long, and mix up some modern modes with remade ballads – both sublime expressions of the new ideas in jazz that both players were unlocking at the time, presented here in a setting that still sets a standard for modern jazz on record! The rhythm trio is equally wonderful – Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums – and titles "Tune Up", "Blues By Five", and "Airegin" – plus the pair's classic reading of "My Funny Valentine". LP, Vinyl record album

A huge moment in jazz – not just for trumpeter Miles Davis, but also for saxophonist John Coltrane – who was virtually introduced to the world at large with this record! As you might guess from the title, the record's the first to feature Coltrane playing along with Davis – a sublime combination that resulted in some key sides that forever helped shape the sound of jazz. Rhythm is by the famous trio of Red Garland, Paul Chambers, and Philly Joe Jones – and apart from the top-shelf solo work, the interplay between the horns is also fantastic. Titles include "Just Squeeze Me", "There Is No Greater Love", "How Am I To Know", "S'Posin", "The Theme", and "Stablemates". CD

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Fire Waltz", "Bee Vamp", and "The Prophet". CD

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love". CD

Classic set of European recordings – made by Dolphy in 1961, before the fateful 1964 European tour that would later claim his life. The group features Swedish piano giant Bent Axen, plus a rhythm section that includes Erik Moseholm on bass and Jorn Elniff on drums. Like most Dolphy recordings from the time, however, the main focus is on Dolphy himself, and the long tracks feature some beautiful extended solos on alto and flute. Tracks are long, and titles include "Miss Ann", "Don't Blame Me", and "Laura". CD

A surprisingly nice little record – a set in which Prestige Records collected together a number of unissued Eric Dolphy tracks after his death – but still a strong full album – as the record features music that's even a bit more far-reaching than some of the studio albums on the label! Dolphy plays a solo bass clarinet version of "God Bless The Child"; he plays with Booker Little and Mal Waldron on "Status Seeking"; he's on flute in a quartet with Jaki Byard on "April Fool"; and he plays with a pickup Danish rhythm section on an alternate take of "Don't Blame Me". CD

Eric Dolphy's first album ever as a leader – recorded almost immediately after his arrival on the New York scene! The sound here is already bolder and stronger than the Dolphy experiments on the west coast – sharp-edged and freely exploratory, in a way that pushes the playful lyricism of the Chico Hamilton years aside, and reaches out into the new territory hinted at by the title! The group is a quintet that features Freddie Hubbard on trumpet, Jaki Byard on piano, George Tucker on bass, and Roy Haynes on drums – and the overall sound is a beautiful mix of modernist hard bop and some of Dolphy's later freer styles. Dolphy plays his usual mix of alto, flute, and bass clarinet – and the tracks include "245", "Miss Toni", "Les", and "GW". CD

Eric Dolphy's first album ever as a leader – recorded almost immediately after his arrival on the New York scene! The sound here is already bolder and stronger than the Dolphy experiments on the west coast – sharp-edged and freely exploratory, in a way that pushes the playful lyricism of the Chico Hamilton years aside, and reaches out into the new territory hinted at by the title! The group is a quintet that features Freddie Hubbard on trumpet, Jaki Byard on piano, George Tucker on bass, and Roy Haynes on drums – and the overall sound is a beautiful mix of modernist hard bop and some of Dolphy's later freer styles. Dolphy plays his usual mix of alto, flute, and bass clarinet – and the tracks include "245", "Miss Toni", "Les", and "GW". CD

Eric Dolphy's first meeting in the studio with trumpeter Booker Little – a brilliant batch of modernism that's easily one of the hippest records Little ever worked on! The Dolphy heard here is Eric at his most inventive – sharp-edged and angular one minute, then spiritually lyrical the next – playing flute, bass clarinet, and alto sax equally well on the record – and somehow managing to get Little to share his inspiration perfectly on every number. Other players include Jaki Byard on piano, Ron Carter on bass, and Roy Haynes on drums – a rhythm team whose abilities are a big part of the success of the record – and titles include "Far Cry", "Mrs Parker Of KC", "Left Alone", "Ode To Charlie Parker", and "Miss Ann". CD features 1 bonus track – "Serene". CD

Classic early work from Kenny Dorham as a leader – a brilliant set that sparkles with modern touches! The group's a quartet that pairs Kenny's trumpet with the alto sax of the late Ernie Henry – a perfect accompanist that brings out both the brightness in Kenny's horn, and the edgier touches that made him one of the most exciting trumpeters to appear in the 50s scene. The rest of the group features GT Hogan on drums and Wilbur Ware or Eddie Mathias on bass – and the session's got a great reading of Kenny's classic "Lotus Blossom", plus the tracks "Jazz Classic", "Noose Bloos", "The End Of A Love Affair", and "Soon". CD also features a bonus track – an alternate take of "Sposin". CD

Great early work from trumpeter Jon Eardley – captured here at a point when he was a budding young modernist in the 50s! The album features 2 early 10" LPs – Jon Eardley in Hollywood and Hey There Jon Eardley – both recorded for Prestige within a few months in the mid 50s. The first date features Eardley's trumpet right out front in the mix – hard, spare, and a bit angular – with backing from the piano of Pete Jolly, as well as Red Mitchell on bass and Larry Bunker on drums. Titles include "Late Leader", "Indian Spring", "Black", and "Gloss". The second session is even more interesting, as it features Eardley's horn in tandem with tenor saxophonist JR Monterose, brimming with new ideas at this point in his career, and adding a real edge to the tracks. The remaining players include George Syran on piano, Teddy Kotick on bass, and Nick Stabulas on drums – and titles include "Hey There", "Sid's Delight", "Demanton", and "If You Could See Me Now". CD

A very cool date from Duke Ellington – one that's based strongly around the talents of tenorist Paul Gonsalves – always a key member of the Ellington ensemble, and quite a leader on his own in the 60s! The lineup is a familiar version of the Ellington orchestra – but the setting's a bit different, in the Gonsalves is really the main soloist here – blowing long and beautifully on tracks that are really designed to showcase his amazing tone on the tenor! Things are nice and raspy from Paul, and plenty creative too – especially since he's got room to get in a lot more licks than usual – and titles include "Paris Blues", "Ready Go", "Happy Go Lucky Local", "Caravan", and "Jam With Sam". CD

Three slices of rare work by Duke Ellington – all recorded previously as semi-private recordings, and issued here in a short-lived 70s set! As you'd guess by the title, the tracks are all in "suite" form – that broader compositional style that dominated Ellington's later work, one in which he brought together complicated ideas with a very unified feel – often based around a single theme, but fleshed out beautifully with modes that were even more sophisticated than in his earlier work. Side one features "The Queen's Suite", recorded in 1959 with mostly full orchestra, but also a spare passage of just piano and bass – and side two features "The Goutelas Suite" from 1971, and "The Uwis Suite" from 1972. CD

A great tribute to the late bassist Jimmy Blanton – served up by his old boss Duke Ellington, working here on piano alongside the bass of Ray Brown! This spare piano/bass session is a rarity in Duke's catalog – and it's a real later gem that captures the warmth and imagination of the Ellington piano sound in a near-solo setting. Brown's tones are round and nicely soulful – always a treat, even if not entirely in Blanton's spirit – and titles include "Pitter Panther Patter", "Do Nothin Till You Hear From Me", "Sophisticated Lady", "See See Rider", and "Fragmented Suite For Piano & Bass" – a great extended piece that takes up all of side two! CD

A great bit of soulful fusion from drummer Peter Erskine – one of the few albums he made as a leader of this nature, even though his playing graced lots of other wonderful records at the time! The approach here is tight, but never too much so – smooth, but never slick – a warmly electric groove that's really a lot more in a mid-70s sort of style than you'd expect from the early 80s date of the album. Other players here are all well-suited for the set – and include Randy Brecker on trumpet, Michael Brecker on tenor, Bob Mintzer on tenor, Don Grolnick on electric piano, Eddie Gomez on bass, Don Alias on percussion, and Mike Mainieri on vibes – and titles include "Leroy Street", "In Statu Nascendi", "All's Well That Ends", "My Ship", and "ESP". CD

A fantastic set by Booker Ervin, and one of his most overlooked sessions! Ervin's hard biting tenor is met by a warm thoughtful group that includes the great Horace Parlan on piano, plus Frank Strozier on alto, and Walter Perkins on drums. Perkins is wonderful, and he lyrically dances about the kit and brings a whole new shade of color to this session. The writing is fantastic, and the tracks include "Mooche Mooche", "No Land's Man", and "Mour". Great great great stuff – and this CD includes the original cover art, plus 2 bonus tracks that were 45 takes of the best tracks. Simply brilliant! CD

A very hip set from Bill Evans' second trio – the legendary lineup that featured Chuck Israels on bass and Paul Motian on drums! Both players bring Evans' sound to an even greater level of spaciousness – allowing for lyrical interplay that's completely amazing, and even furthers the promise of genius made by Bill on his first few albums – a bold step forward that really makes this album one of Evans' standout sets of the early 60s! Titles include an early reading of Evans' wonderful tune "Re: Person I Knew", plus "Very Early", "In Love In Vain", "Stairway To The Stars", "I Fall In Love Too Easily", "If You Could See Me Now", "It Might As Well Be Spring", and "Polka Dots & Moonbeams". CD

A classic set to feature the Bill Evans Trio with the great Scott Lafaro on bass and Paul Motian on drums! Listening to the set we're reminded of what always brings us back to Evans' playing – a quality that's often described as moody, but which is really is quite spry and lively throughout this set, without ever giving up its lyrical approach. Titles are mostly standards – but really transformed by the touch of the trio – and tunes include "Come Rain Or Come Shine", "Autumn Leaves", "Witchcraft", "When I Fall In Love", "Peri's Scope", "What Is This Thing Called Love", "Spring Is Here", "Some Day My Prince Will Come", and "Blue In Green". LP, Vinyl record album

70s work from Evans, caught not in his typical solo or trio setting, but in an all star quintet that recalls his excellent Interplay sides. Evans is joined by Harold Land, Kenny Burrell, Ray Brown and Philly Joe Jones who offset Evans' contemplative approach beautifully here. 5 numbers in all, including 'Sweet Dulcinea", "Martina", "Second Time Around", "A Child Is Born" and "Bass Face". Includes the bonus track "Nobody Else But Me". CD

Sublime live material from pianist Bill Evans – recorded in the very familiar setting of the Village Vanguard, with work from Eddie Gomez on bass and Marty Morrell on drums! Titles include "Since We Met", "See Saw", "Sareen Jurer", "Time Remembered", and "Midnight Mood". CD

A great pairing, heard perfectly here – on titles that include "Show Type Tune", "Invitation", "Blue Serge", "Are You All The Things", and "Falling Grace". CD

A great little return to form for Tal Farlow – his first recording in a decade, and a rare Prestige side that features a groovy quartet with John Scully on piano, Jack Six on bass and Alan Dawson on drums. There's a different vibe here than Tal's work for Verve – a bit more open, but still with that great Farlow tone that was always one of the greatest jazz guitar sounds of the 50s. The tracks include "Straight No Chaser", "Darn That Dream", "Summertime", "Sometime Ago", "I'll Remember April", "My Romance", and "Crazy, She Calls Me". Farlow did not record again until 1976. CD

Early Pablo recordings from Ella Fitzgerald – captured in performance in Nice in 1971, with a trio led by Tommy Flanagan on piano! The set's got a nice medley titled "The Bossa Scene" – almost worth the price of the record alone! CD

Ella Fitzgerald swings it nicely with the Tommy Flanagan Trio – a small group on the date for backup, but one who give this Montreux performance almost as much bounce as Ella's 70s live dates with a bigger ensemble! Tommy seems to have a bit more punch in his piano than usual, and Fitzgerald really makes great use of that quality – hanging her groove on his bold lines nicely, with support from Keter Betts on bass and Bobby Durham on drums. Titles include "Day By Day", "Billie's Bounce", "Too Close For Comfort", "Come Rain Or Come Shine", "One Note Samba", and "Ordinary Fool". CD

A charming little set from the great Dave Frishberg – easily one of the hippest singers and songwriters in jazz during the past few decades! The set's got Dave working solo – just singing along with his own piano accompaniment – in a whimsical way that matches the same sort of energy you'd get from Blossom Dearie or Bob Dorough in a similar setting – both good comparisons, given how much each have sung some of Frishberg's tunes! And as a way of tipping his hat back, the set features a great version of Dearie's "Long Daddy Green" – plus an extended "Johnny Hodges Medley", and loads of great tunes that include "The Dear Departed Past", "Eloise", "One Horse Town", "Zanzibar", and "Blizzard Of Lies". CD

With Milt Jackson on vibes, Eddie Lockjaw Davis and Johnny Griffin on tenors, Tommy Flanagan on piano, and Mickey Roker on drums – on titles that include "Lover Come Back To Me", "What's New", and "Cherokee". CD

A wonderful small combo session from tenorist Benny Golson – one of a few key albums like this from the early years! Although Golson is perhaps best known as a lively arranger in the modern idiom, he's also a kick-ass tenor player when he wants to be – and on this classic, he definitely wants to be! Unlike some of Golson's more tightly arranged records of the early years, this date is a deeply gutsy soul jazz session – support from a group that includes Ray Bryant on piano, Paul Chambers on bass, Art Blakey on drums, and Curtis Fuller on trombone – all sliding into long tracks that have plenty of room for solos! The whole thing's a bit like the more spontaneous side of the Jazz Messengers groove – and titles include "The Stroller", "Drumboogie", "My Blues House", and a beautiful version of "Yesterdays". CD

The modern touch indeed! You can't get any more classic Benny Golson than this – a sublime late 50s album that features Benny with a sextet, working out amazing versions of the sorts of material that set him apart from every other jazz arranger of the time! The tracks here are complicated, yet have a rootsy soulfulness that makes them instantly compelling – and Benny's tone on tenor sax is sharp and angular, yet also has a raspiness that gives it a degree of honesty you wouldn't expect from a budding young modernist. The rest of the players – Max Roach, Paul Chambers, Wynton Kelly, JJ Johnson, and Kenny Dorham – are equally great, too – and amidst Benny's arrangements, they come together as if they'd been playing in this format for years! Titles include "Out Of The Past", "Venetian Breeze", "Reunion", "Hymn To The Orient", and "Blues On Down". CD

An overlooked US date from 1970 – a set that Dexter Gordon recorded during a quick stop home from his time abroad – really cooking away in the Prestige studios with a great little rhythm section, in ways that are quite different than his better-known European work of the time! The title cut's a groover that definitely matches the promise of its name – a slinky soul jazz number driven along nicely by a rhythm trio that features Tommy Flanagan on piano, Larry Ridley on bass, and Alan Dawson on drums. The group keep things interesting on other cuts too – even when Gordon's dominating with the kind of inventive solo lines he was forging in Europe – and most tracks are longish, with plenty of room for action. Titles include "The Panther", "Valse Robin", "Mrs Miniver", and "The Blues Walk". CD

One of the best-ever documents of the young genius of tenorist Wardell Gray – exactly the kind of music that shows why he was one of the biggest and best of the bop saxophonists – before he was taken away from us all too soon! The material here was originally issued on 78s or 45s, and comes together as a great full length representation of Gray at his best – and on this first volume, Wardell plays tenor in one group with Al Haig on piano and Roy Haynes on drums – on titles that include "Easy Living", "Twisted", and "Southside". Another combo features Phil Hill on piano – on "Treadin", "Grayhound", and "Blue Gray". And the last combo is Teddy Charles' West Coasters – with Charles on vibes, Frank Morgan on alto, and Sonny Clark on piano – the last two of whom make their debut on the record! CD

One of the best-ever documents of the young genius of tenorist Wardell Gray – exactly the kind of music that shows why he was one of the biggest and best of the bop saxophonists – before he was taken away from us all too soon! The material here was originally issued on 78s or 45s, and comes together as a great full length representation of Gray at his best – and on this second volume, Wardell works in some bigger groups on great long tracks with a nicely jamming feel! Players include Sonny Criss on alto, Art Farmer and Clark Terry on trumpet, Dexter Gordon on tenor, and Hampton Hawes on piano – and titles include "Move", "Scrapple From The Apple", "Lover", "Farmer's Market", "April Skies", "Jackie", and "Sweet & Lovely". CD

A really obscure little session from tenorist Johnny Griffin – and one of his few dates from the time cut with an organist – in this case the up-and-coming LA player Paul Bryant! Bryant's probably best known for his cookers with Curtis Amy, and he hits a similar mode here – by bringing a strong R&B inflection to the album, and offering Griffin a setting that's a bit less hardbop than some of his other Riverside albums of the time! The rest of the group features Joe Pass on guitar, Jimmy Bond on bass, and Doug Sides on drums – and titles include "Cherry Float", "These Foolish Things", "63rd Street Theme", "Grab This", and "Offering Time". CD

Few people could make a session cook like Johnny Griffin in his early years – and this late 50s sextet date is great proof of that fact! The album's a relaxed, open, almost unstructured set that might be dubbed a "blowing session", were it not for the tightness of the players and the relatively unified feel of the date. Griffin's tenor is very firmly in the lead, and he's very clearly the leader here – helping shape the sound of the group that includes Donald Byrd on trumpet, Pepper Adams on baritone, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums. There's some really hard-wailing extended numbers that come across as full-on hardbop workouts – really driving things along as you might guess with a rhythm section like that in action – but other tunes show some more fully-fleshed sounds from the group – that slight undercurrent of modern expression that was always present in Griff's music. Titles include "Johnny GG", "Catharsis", "Stix Trix", and "What's New" – plus a take on "Woody N You" that just has Griffin wailing along with the rhythm section! CD

The twin-tenor duo of Johnny Griffin and Eddie Lockjaw Davis were really on fire in the early 60s – and unlike other pairings of the time, they often brought a strong dose of modernism to their music – as you'll hear in these great interpretations of tunes by Thelonious Monk! The record's a great reminder that the reach of Monk extended far beyond the highbrows of jazz a the time – as Griff and Lock take a nice soul-based path through the tunes, with help from Junior Mance on piano, Larry Gales on bass, and Ben Riley on drums! Titles include "Epistrophy", "Stickball", "In Walked Bud", "Well, You Needn't", and "Rhythm-a-ning". CD

A wonderful session from Gigi Gryce – quite obscure, and one that has him playing in a stripped down, open-ended soul jazz mode that's quite different from some of his more tightly-arranged records! The album features a quintet that includes the great Richard Williams on trumpet – a wonderful talent who cut a small few sessions, and a player with a tone that's both deeply soulful and sharply modern at the same time. He's a great match for Gryce, and the pair work well amidst rhythm backings by Richard Wyands, Julian Euell, and Mickey Roker. Tracks are longish – and titles include "Lover Man", "Minority", "Summertime", and "Nica's Tempo", all taken by the group in an easy live blowing fashion. CD

A killer set from one of the most-overlooked talents of the 50s – the great Gigi Gryce, a fantastic arranger and player whose talents get more forgotten as every year passes by! This set features Gryce working in a well-fitting quintet with the great Richard Williams on trumpet – and the group plays together in a style that mixes easy blowing soul jazz with some of the modernism that was always inherent in Gryce's writing and playing, and which Williams was certainly getting a name for in his work with Mingus. The record's got a lot more surprises than you'd expect – but most of all, it's got a deeply soulful bottom, free from any of the cliches of the era, and expressed in fresh modern tones that should have been allowed further development over the years. Titles include "Boxer's Blues", "Monday Through Sunday", and "Strange Feelin". CD

A rare slice of 50s work from pianist Hampton Hawes – material recorded during his initial strong run for Contemporary Records, but unissued until many years later! The album allows a chance to hear Hamp away from his better-known trio of the period – and some of the tracks feature Paul Chambers on bass and Lawrence Marable on drums, while others feature Scott LaFaro's bass and Frank Butler's drums. The work still has the incredible fluidity that Hawes brought to the table back in the 50s – a style that's inspired by the fast invention of bop, but colored with a warmer sense of lyricism overall. Titles include "Cheryl", "Blues For Jacque", "Bird Song", "Big Foot", "Ray's Idea", and "Stella By Starlight". CD

Hampton Hawes on piano, with Leroy Vinnegar on bass and Stan Levey on drums. CD

Wonderful late work by Coleman Hawkins – a player who was very much "at ease" with himself at the time, and opened up tremendously on albums like this. The format is beautiful – simple small group backings by Tommy Flanagan, Wendell Marshall, and Osie Johnson – with Coleman out front, blowing these deep and mellow tenor lines that could stop a locomotive in its tracks! Titles include "At Dawning", "I'll Get By", "For You For Me For Evermore", and "Mighty Lak A Rose". CD

The Hawk Relaxes, but never lets himself go – and a set like this is a great illustration of the gentle genius that made so many later Coleman Hawkins records so great! The relaxed setting for this record is a perfect setting for Hawkins to open up and stretch out – working his tenor with a sound that has surprising modern edges, and unusual twists and turns, yet still all the careful economy of his better-known classic sides. There's a command of the instrument here that few other aging players ever seemed to muster – always a sense of new discovery and invention that marks the work strongly, even at a time when Hawkins could have been sitting on his laurels, playing the same old tune! Titles are all standards, but don't let that fool you – because there's plenty of magic in Coleman's versions of "Moonglow", "Just A Gigolo", "Speak Low", "When Day Is Done", and "I'll Never Be The Same". Oh, and we almost forgot – just because we're so focused on Hawkins – the other players include Ronnell Bright on piano, Kenny Burrell on guitar, Ron Carter on bass, and Andrew Cyrille on drums – making a surprising early appearance here! CD

A key outing from drummer Roy Haynes – a classic trio session that has a lot more energy than the usual set from the time – thanks to equal participation from Paul Chambers on bass and Phineas Newborn on piano! The unified approach hinted at in the title certainly comes through in the grooves – as Chambers bass works way more than rhythm here – and Haynes' drumming is lightly melodic on the best numbers, allowing Newborn to almost handle more of the pace of the tunes himself. Tracks are longish, and titles include "Reflection", "Sugar Ray", "Solitaire" and "Sneakin Around". CD

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

Milt plays mostly Monk – recorded live at Ronnie Scotts, with Ray Brown on bass, Monty Alexander on piano, and Mickey Roker on drums. CD

A great little set from that time when Milt Jackson was fronting a group that also included Jimmy Heath on tenor – a wonderful pairing of talents that made for some of Milt's most soulful sides of the 60s! Heath's sharp-edged tone is a great contrast to Jackson's smoother touch on the vibes – and the pair are supported here by rhythm from Hank Jones on piano, Bob Cranshaw on bass, and Albert Heath on drums – all great players who bring plenty of personal inflection to their work on this live date. Titles include a great version of Heath's "Gemini" – plus Jackson's "Bags Of Blue", "Gerri's Blues", and "Ignunut Oil" – plus takes on "Little Girl Blue" and "Time After Time". CD

A slightly different take on the Modern Jazz Quartet sound of the early years – as the album features Milt Jackson's vibes in the company of MJQ bandmates Percy Heath and Connie Kay, but also includes Horace Silver on piano – in the spot normally reserved for John Lewis! The presence of Silver on piano gives a bit of a harder edge to the set, one that almost recalls some of Jackson's work on Blue Note in the early 50s, yet which is rounded out here by a few lighter and more lyrical touches on rhythm. The set includes a great reading of "Moonray", the Jackson original "Stonewall", and the tracks "Wonder Why", "I Should Care", and "My Funny Valentine". CD

Nice mixture of boppish and swing-based material, and an excellent soulful session that has Illinois Jacquet playing in a stripped-down setting with Ben Tucker on bass, Alan Dawson on drums, and Barry Harris on piano, who adds a nice warm dimension to the set. Jacquet's tone is fantastic as always, and it's a real treat to hear him work his way around the tracks in a relatively free environment. Titles include "Sassy", "Bottoms Up", "Jivin With Jack The Bellboy", and his classic "Port Of Rico". CD

Seminal work from one of the hippest jazz singers ever – a session that showed the world that Eddie Jefferson was firmly back in business during the 60s! The set's got a really rollicking feel, and a bit more influence from soul than the bop of Eddie's roots – with elements of gospel and R&B filtering into the mix from time to time, alongside some of the more sophisticated jazz styles we've always loved in Jefferson's vocals. The group features some great tenor work from James Moody – one of Eddie's frequent musical partners – plus Dave Burns on trumpet, Barry Harris on piano, Steve Davis on bass, and Bill English on drums. Titles include "Now's The Time", "So What", "Psychedelic Sally", "Filthy McNasty", "Oh Gee", and "See If You Can Git To That" – plus a very cool spoken introduction by Ed Williams! CD

Rare work as a leader from drummer Osie Johnson – two sessions recorded during the heyday of his career, when he was appearing as a sideman on countless other albums! The style here is similar to some of Johnson's other session work – particularly his contributions to the labels RCA and Bethlehem – as most of the numbers are relatively tightly arranged, and given a playful, slightly modern spin that usually features a fair bit of interplay between the horns in the group. Players vary here – both between the albums, and the tracks on each set – and key musicians include Frank Wess, Thad Jones, Ernie Wilkins, Dick Katz, and Benny Powell. The CD features both albums done for the Period label – and titles include "Johnson's Whacks", "Osmosis", "Don't Bug Me Hug Me", "Midnight Mirage", "Cokernut Tree", "Blues For The Camels", "Osie's Oasis", "Cat Walk", and "Flute To Boot". CD

Could anyone ever utter a sexier line than "Don't go to strangers, come to me?" We think not, and it's material like that that makes the album a real killer from Etta Jones – one of her best from the 60s, cut when she was really developing her skills as a vocalist, but still had enough of an edge to be interesting. Backing is by a small group that includes Frank Wess, Roy Haynes, and Richard Wyands – and the album has a relaxed, jazzy quality that easily makes it one of the real standouts in Etta's career! Titles include "All The Way", "Where Or When", "Yes Sir, That's My Baby", "If I Had You", "Something To Remember You By", and "Don't Go To Strangers". CD

Hard to imagine Etta Jones being lonely and blue – especially when she sounds as great as this! The album's one of Jones' early classics from Prestige – a date that really has her classing things up a lot, and drawing on bits of Billie Holiday and Dinah Washington's styles, to mix in with the bluesier tones of her roots – put together with a great deal of charm, and a new sophistication that made Etta one of the hippest jazz singers of the 60s! Backing is by a cool small combo – with Patti Brown on piano, Wally Richardson on guitar, and a bit of tenor from Budd Johnson – and titles include "I'll Be There", "In the Dark", "Gentlemen Friend", "I Wonder", and "Miss You So". CD includes 3 more bonus tracks from a date recorded with Gene Ammons on tenor – "But Not For Me", "If You're But A Dream", and "Cool Cool Daddy". CD

Etta Jones is definitely nice and warm here – working with some great backings from Oliver Nelson, who mixes in a bit of strings with the usual jazzy punch he was delivering at the time! Jones' vocals are at the height of her early powers here – working with poise, class, and a heck of a lot of soul – and titles on the set include "You Better Go Now", "All My Life", "And This Is My Beloved", "Unchained Melody", "If You Were Mine", "Hurry Home", and "I Laughed At Love". CD

Early genius from Sam Jones – the kind of record that showed the world that he was way more than just a bass player – even though he was pretty darn great at that! At the time of the set, Sam was already raising plenty of ears with his work in the Cannonball Adderley group, an outfit that helped Jones find a whole new role for the bass in jazz. But here, he's working with a much larger group – a tentet that's filled with all star players that include Melba Liston, Cannonball Adderley, Blue Mitchell, Jimmy Heath, Victor Feldman, Tate Houston, and Les Spann – soaring through lively arrangements by Heath and Feldman that sit in a space between small combo soul jazz and larger group swing – a bit in the mode of some of Quincy Jones' best early 60s work on Mercury! Despite the large group, Sam's bass gets plenty of room to roam in the album – and titles include "The Chant", "Blues On Down", "In Walked Ray", "Blue Bird", "Four", and "Off Color". CD

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

A surprisingly wonderful set from Wynton Kelly – really fluid and swinging, and with a unique approach on half the material! The core group of the set features Kenny Burrell on guitar, Paul Chambers on bass, and Philly Joe Jones on drums – but then Jones sits it out on the second side of the record, making for a drum-less approach that's looser and freer than we might expect from Kelly. Not necessarily Ahmad Jamal, but really nice and fresh – and with tracks that include "Action", "Dark Eyes", "Strong Man", "Ill Wind", and "Whisper Not". CD

"Dynamic" is right – as Rod's one of the hippest large group arrangers of his time! The album's a really wonderful record that features Rod leading an octet with a distinctly modern touch – almost building off the styles of Kenton groups of the 50s, but with more of the energetic twists and turns of some of the west coast groups of later years. Players are mostly lesser-known names – save for trumpeter Rolf Ericson – and the album features some really great tenor work by George Marge, who we only know from this record. Tracks are angular and fresh, but always nicely swinging – and titles include "Holler", "Jelly Man", "El General", "Upper Bay", and "Ah! Spain" – all by Levitt! CD

Trio side with Bob Cranshaw and Mickey Roker. Soul jazz piano stuff, with a few nice originals like "Cracklin" and "Down the Line". CD

An incredible record from Shelly Manne – one of his only dates recorded at The Manne Hole, even though it was his own club – and a killer live recording that was issued in a rare 2LP format for the time! The style here is similar to Manne's excellent recordings at the Blackhawk – open-ended, stretched out, and more freely expressive hardbop than on his 50s sides – played by a group that features plenty of excellent tenor from the great Richie Kamuca, plus trumpet from Conte Cantoli, piano from Russ Freeman, bass from Chuck Berghofer, and drums from Manne himself. As with the Blackhawk date, many of the tunes are familiar, but open up mostly as longer solo vehicles – completely transformed by the efforts of the group and their freewheeling lines. Titles on this second volume include "What's New", "A Gem From Tiffany", "On Green Dolphin Street", and "If I Were A Bell". CD

A stunning hardbop set from drummer Shelly Manne – a player most folks associate with more arranged jazz, or cooler modes of the LA scene of the 50s – but a player who was already starting to open up and forge new roads by the end of that decade! Shelly became a surprising proponent of hardbop modes with a few key records like this – and the live setting has Manne leading a great group with really searing solo work that's very different than west coast cool jazz modes normally associated with both the drummer and the Contemporary label! The album features key work from trumpeter Joe Gordon – stunning work, recorded in the years before his too-soon death – and tenorist Richie Kamuca really opens up too – in a combo that also has Victor Feldman on piano and Monty Budwig on bass – going through very long tunes that are filled with extended solo space. Tracks on this first volume include "Summertime", "Our Delight", "Poinciana", "Blue Daniel", and "Theme From A Gem From Tiffany". CD

An excellent album from guitarist Pat Martino – caught here at a key point when he was breaking out of his earlier soul jazz roots, and going for a more complicated style that showed he was picking up a lot of spiritual influences from the Coltrane generation. The record's got a core group of players that includes Cedar Walton, Joe Farrell, Ben Tucker, and Walter Perkins – but it also features some extraordinary contributions from Dave Levin and Ray Appleton, who play some odd percussion on the title track "Strings". As a whole, the album's got some wonderful modal jazz moments – all acoustic, save for Martino's guitar, and nicely lyrical, without being too overindulgent. Titles include "Strings", "Minority", "Lean Years", and "Querido". CD

Seminal early work from Charles Mingus – a session that really shows him beginning to work in tightly arranged, deeply resonant styles – pushing much more deeply towards the brilliance of the late 50s! The set's recorded with a great lineup that includes Mal Waldron, Max Roach, and the enigmatic George Barrow on tenor – and includes a fantastic reading of "Percussion Discussion", played here by Roach and Mingus as a drum and bass duet (as opposed to Roach solo, as on a later version.) Also features the brilliant "All The Things You C-Sharp", a pivotal track in the Mingus book, and one of our favorites ever by him – plus "Septemberly", "Work Song", and "Jump Monk". CD includes two bonus tracks ; alternate takes of "Jump Monk" & "All The Things You C-Sharp". CD