A stunning European meeting of two great North American talents – the piano of Paul Bley and the trumpet of Chet Baker – coming together here without any other instrumentation in the mix! Bley is at a point where he's bringing back a bit more warmth to his music after so many years in both avant and colder territory – and Baker has that beautifully meditative tone of his late life recordings – which seems to encourage a sensitivity out of Bley's piano that you might not expect – making for a wonderful session throughout! Chet sings a bit, but his trumpet is his main voice – and titles include "Pent Up House", "If I Should Lose You"- "Diane", "Little Girl Blue", and "Skidadidlin". LP, Vinyl record album

Solo, duo, and trio recordings from Paul Bley – all done in an amazingly inventive mode that takes us back to his key sessions of the early 70s! Bley's in great company here – with Hans Koch on reeds and Franz Koglmann on flugelhorn – both musicians who share Paul's sense of sound as shapes, shaped by the space in between – yet always in ways that still have a beating heart underneath – and are never too academic for their own sakes. The blend is a careful one, but it rings true here right from the very first note – on a beautifully recorded batch of 18 tracks! CD

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"Blues" might be a surprising word for the title of an album by Paul Bley – especially given his modern inclinations – but the term definitely fits here, as this set of solo piano performances by Bley has a wonderfully moody, mellow quality – and a surprising amount of soul at times too! Paul's always had his warmth – although it usually comes across in more lyrical passages – but here, there's a richer focus on the left side of the piano, which opens up the bottom, and makes for some wonderful core sounds as Bley expresses himself more nimbly on the right. The titles are all originals, with maybe a bit more structure than improvisations – and tunes include "Baby Narrows", "Late Night Blue", "Downtown", "Underground", "Up Hill", "Rear Projection", and "Into The Night". LP, Vinyl record album

Features Bley on piano, John Surman on saxes, Bill Frisell on guitar, and Paul Motian on drums! CD

A solo record – tracks include "Points", "Ram Dance", "If–", and "Three Fifth". CD

Incredible work from Paul Bley – and a record that captures him in his excellent electric period, working in a different setting than we've heard him elsewhere! The group on the set is a trio – one that matches Bley's work on electric piano and synthesizer with percussion from Han Bennink and vocals, piano, bass, and additional synthesizer from a young Annette Peacock! Peacock is especially restrained on the record – especially if you only know her later, straighter work – and her contribution here is wonderfully subtle and extremely lovely. Side one features the track "Improvisie", a free improvisation with Bley on electric piano and synthesizer – and tonalities are as "out" as the playing, which is generally quite spacious and dynamic – though hardly quiet. The second side features a Peacock tune titled "Touching" that's a bit more intense – very much in the spirit of the work on the first side, and a unique slice of magic from this one-off session! CD

The earliest work on record from pianist Paul Bley – the Canadian modernist who'd become much better known for his more experimental work in later years, but who's heard here in a slightly straighter trio set! Even at this early point, though, Bley's talents are amazing – sharp-edged and fresh – still with a few touches of traditional pianistic approach, but often breaking into surprising twists and turns on the solos. The core of the set is a rare 10" album that Bley cut with Art Blakey on drums and Charles Mingus on bass – a set that was done upon Mingus' discovery of Bley's talents, and which was issued on his own Debut label briefly in the 50s. Titles include "Opus 1", "Walkin", "Split Kick", "Spontaneous Combustion", "Santa Claus Is Coming To Town", and "Like Someone In Love". CD addds in a number of bonus tracks – including "Zootcase", "The Theme", "This Time The Dream's On Me", and an alternate of "Opus 1". CD

Pianist Paul Bley played famously with Ornette Coleman in his earliest years – and here, he gives a nod to that special time in his career, while also working in a style that's very much his own! All tracks are famous originals penned by Ornette, but delivered in very different trio readings by Bley, along with help from Jay Anderson on bass and Jeff Hirshfield on drums – in readings that are neither the harmelodic territory of Coleman during his classic years, nor some of the airy modernism you might know from Bley either. There's a surprising amount of lyrical beauty in the performances, as Paul opens up great new currents in these tunes – titles that include "Crossroads", "Turnaround", "Compassion", "When Will The Blues Leave", and "Lorraine". LP, Vinyl record album

Solo piano album – tracks include "Breakdown", "Blues Waltz", "8th Avenue", and "Nothing To Declare". CD

Beautiful solo piano work from Paul Bley – spare, stark, and almost lovely – and a real contrast to some of his more aggressive experiments of the late 60s. The Bley here has almost a hint of sadness and longing, especially on the numbers that have him revisiting tunes he'd done on earlier records with an approach that was a bit stronger. It's hard to define the gentle charm that he brings here to "Ida Lupino", "Closer", "Harlem", "Seven", "Open To Love", and "Nothing Ever Was Anyway" – but one listen to the record, and its gorgeous recording of Bley's piano, should be enough! LP, Vinyl record album

Early early work by Paul Bley – years before he picked up the synthesizer, and years before he became the moody modernist he was in the 70s! The album's a relatively straight batch of tracks, but does have a touch of modernism – an early example of the sharp sounds that Bley would fully forge in alter years. The lineup is nice, too – with either Percy Heath or Peter Ind on bass, both players who clearly feel Bley's intentions – and Al Levitt on drums. Tracks are mostly standards, but they're done by Bley in a way that's fresh and sprightly – and titles include "My Heart", "Topsy", "I Want To Be Happy", "Autumn Breeze", and "My Old Flame". CD

The music of Carla Bley is always a special thing – compositions that began appearing on modern jazz recordings long before Carla herself got a chance to record as a leader – yet there's also maybe something extra special about this set, as Paul Bley really gets all the special sense of spacing and tone in the tunes completely right – delivered here in a record that's very different than most of his other albums from the time! The other trio members have ears that fit the songs perfectly too – Marc Johnson on bass and Jeff Williams on drums – working with Paul's piano in this special sonic space that's completely sublime, on titles that include "Turns", "Ictus", "Ida Lupino", "Vashkar", "Seven", "Around Again", and "Olhos De Gato". CD

The music of Carla Bley is always a special thing – compositions that began appearing on modern jazz recordings long before Carla herself got a chance to record as a leader – yet there's also maybe something extra special about this set, as Paul Bley really gets all the special sense of spacing and tone in the tunes completely right – delivered here in a record that's very different than most of his other albums from the time! The other trio members have ears that fit the songs perfectly too – Marc Johnson on bass and Jeff Williams on drums – working with Paul's piano in this special sonic space that's completely sublime, on titles that include "Turns", "Ictus", "Ida Lupino", "Vashkar", "Seven", "Around Again", and "Olhos De Gato". LP, Vinyl record album

Early work from pianist Paul Bley – material that really shows his commitment to the songwriting strengths of the great Annette Peacock! The first two thirds of the set features European material recorded in Rome and Baarn in 1966 – Bley working alongside bassist Mark Levinson and drummer Barry Altschul, both of whom had joined Paul on the groundbreaking Blood album – and who work here in similar territory, but on shorter tracks that are still relatively free and open overall! The tracks represent key recordings of songs that Bley would rework later on – titles that include "Blood", "Touching", "Nothing Ever Was Anyway", "Kid Dynamite", "Mister Joy", "Albert's Love Theme", and "El Cordobes". The last third of the record features material from 1968, recorded in Seattle with a trio that features Gary Peacock on bass and Billy Elgart on drums – revisiting some of the same material, but with a very different vibe – on tracks that include "Mister Joy", "Touching", "Kid Dynamite", "El Cordobes", "Blood", and "Nothing Ever Was Anyway". CD

Pivotal work from piano genius Paul Bley – an important recording done in Rome in the mid 60s, and one of those sessions that really helped Bley reinvent the sound of jazz piano at the time! The record's got this beautiful mix of free improvisation and group structure – a vibe that's very different than territory that Cecil Taylor was starting to explore, even though Bley can be relatively bold on the keys – with this sense of melody that lingers throughout, even on the more percussive passages – which feature superb work from a young Barry Altschul on drums, alongside bass from Mark Levinson, who is a subtle but powerful force in the proceedings! Titles include key tracks penned by Annette Peacock and Carla Bley – "Both", "Albert's Love Theme", "Ida Lupino", and "Touching" – plus a great take on Ornette Coleman's "Ramblin". CD

Ten numbered variations – performed by Paul Bley on piano. CD

Prime modern work from the great Paul Bley – a pianist who was really expanding his sound at this time – to a level that would soon make him a legend around the globe! The European date is a great chance to hear Bley really opening things up – playing freely, with an amazing command of the keyboard – faster flurries of notes at times than you might hear on his 70s material, but with an equally sensitive ear for space and sound – all balanced by perfect work from Kent Carter on bass and Barry Altschul on drums! There's an instantly haunting quality to the music – which is all unique original material from Bley's scene – titles that include his own compositions Bley's "Pablo" and "Mazatlan", plus Annette Peacock's "Both" and "Cartoon", and Carla Bley's "Start". LP, Vinyl record album

Paul Bley on piano and Gary Peacock on bass. CD

Features Paul Bley on piano, Gary Peacock on bass, Tony Oxley on drums, and John Surman on baritone saxiphone and bass clarinet. Tracks are all originals and include "Portrait of Silence", "Speak Easy", "Alignment", "Spe-cu-lay-ting", and "Afterthoughts". CD

A fantastic and ambitious project that's in the best tradition of the Jazz Composers Orchestra – a set that features music by Carla Bley and words by Paul Haines – in an extended set that mixes avant jazz instrumentation with spoken passages by a surprising lineup of voices – including Bley, Jack Bruce, Don Cherry, Jeanne Lee, and even Linda Ronstadt! Musicians are the cream of the crop of the international avant scene at the time – and include Roswell Rudd on trombone, Gato Barbieri on tenor, Perry Robinson on clarinet, Carla Bley on organ, Don Preston on moog, Michael Mantler on ring modulated piano, Paul Motian on drums, Charlie Haden on bass, John McLaughlin on guitar, and many others – too numerous to mention here! CD

A fantastic and ambitious project that's in the best tradition of the Jazz Composers Orchestra – a set that features music by Carla Bley and words by Paul Haines – in an extended set that mixes avant jazz instrumentation with spoken passages by a surprising lineup of voices – including Bley, Jack Bruce, Don Cherry, Jeanne Lee, and even Linda Ronstadt! Musicians are the cream of the crop of the international avant scene at the time – and include Roswell Rudd on trombone, Gato Barbieri on tenor, Perry Robinson on clarinet, Carla Bley on organ, Don Preston on moog, Michael Mantler on ring modulated piano, Paul Motian on drums, Charlie Haden on bass, John McLaughlin on guitar, and many others – too numerous to mention here! CD

Magnificent music from Atomic – a set that begins with a set of variations on the "Pet Sounds" theme from Brian Wilson – then takes off into some great directions inspired by the music of Steve Lacy, Jimmy Giuffre, Paul Bley, and Edgar Varese! Atomic are always fantastic – way more than the sum of their parts, which is a top-shelf quintet lineup that includes Fredrik Ljungkvist on saxes and clarinet, Magnus Broo on trumpet, Havard Wilk on piano, Ingebrigt Haker Flaten on bass, and Hans Hulbaekmo on drums – mostly players you'll know from our rave reviews of their other music here on these pages, but who always seem to really reach new heights together as a group! There's a sense of energy here that's wonderful – structure balanced with freedom, group performance balanced with individualism – spread out over inventive performances of "Pet Sounds", "Karin's Mode", "Art", "Walking Woman", "Cry Want", "Un Grand Sommeil Noir", and "Inri". CD

Carla Bley plays organ and keyboards – with work from the great Larry Willis on acoustic and electric piano, plus Hiram Bullock on guitar, Steve Swallow on bass, Victor Lewis on drums, and Manolo Badrena on percussion! The set also features guest work from Paul McCandless on reeds and Randy Brecker on trumpet. LP, Vinyl record album

Amazing work from Marion Brown – two albums we'd never be without! Geechee Recollections is quite possibly our favorite record ever from reedman Brown – and very different than both his seminal 60s recordings, and his European sides from later years! There's a really earthy feel to this record – one that really lives up to the title, and which comes from the use of lots of percussion, played by just about every group member, ala AACM – but handled in a style that's warmly spiritual, and very organic too – right in line with the best Impulse Records vibe of the time, yet completely its own thing too! Brown plays alto and soprano sax, and is working with players who include Leo Smith on trumpet, William Malone on mbira and autoharp, James Jefferson on bass, and Steve McCall, Jumma Santos, Bill Hasson, and A Kobena Adzenyah on percussion – in addition to percussion plays by other group members too. Two tracks are spare, beautiful solos – almost a Kalaparusha Maurice McIntyre vibe – and titles include "Buttermilk Bottom", "Once Upon A Time", "Tokalokaloka", and "Karintha". Sweet Earth Flying has an unusually introspective quality, and features Muhal Richard Abrams playing piano, Fender Rhodes, and Ring Modulated Hammon Organ, plus Paul Bley playing some of the same on a few tracks. The two-keyboard sound is very cool, and the record's dominated by it in a way that we find really surprising, given the fierceness of Brown's sax playing on earlier sessions. Each side of the album features a long suite – side one has "Sweet Earth Flying" and side two has "Eleven Light City" – and each have the tracks drifting in and out, with piano lines swirling about in a soulful spiritual way, as Brown's alto and soprano snake through the elegant arrangements. Really fantastic stuff – and a record that's unlike any we've heard from him! CD

A complete issue of a groundbreaking late 50s performance by Ornette Coleman – some of which has been released on the French album Fabulous Paul Bley Quintet, and other parts on albums under Ornette's name! The quality of the performance is amazing – some of the freshest jazz recorded in LA at the time, but still somewhat more inside than Coleman's work of the decade to come – a key transitional moment from Ornette, played by a group that features Don Cherry on trumpet, Charlie Haden on bass, and Billy Higgins on drums – plus a young Paul Bley on piano, who makes for a very different rhythmic conception than some of the Coleman quartet albums of a year or two later! Given Bley's approach to the piano, even at this point, the sound is still quite different than most of what had come before – almost in the territory of some of Eric Dolphy's early albums for New Jazz. Titles include "Free", "The Blessing", "When Will The Blues Leave", "Ramblin", "Crossroads", "How Deep Is The Ocean", "Klactoveesedstene", and "I Remember Harlem". CD

Bracingly modern work from trumpeter Don Ellis – recorded quite early in his career, long before he broke out with his funkier big band of the late 60s and early 70s! The Ellis heard here is a clear-headed, fresh-thinking player – one who's keenly aware of the changes going on in jazz at the time – and who's working here to carve out his own unique little space. Unusual timings, phrasing, and spacings are common on the set – and Ellis' own well-tuned trumpet sound is at the lead, supported by very inventive rhythm work from Paul Bley on piano, Gary Peacock on bass, and either Gene Stone or Nick Martinis on drums. Titles include the original numbers "Form", "Irony", "Slow Space", and "Ostinato" – plus a great version of Carla Bley's "Donkey". CD

2 amazing albums from the 2nd version of the Jimmy Giuffre 3! After working with his first combo of Bob Brookmeyer and Jim Hall during the late 50s, Giuffre hooked up with a pair of younger modernists – Paul Bley and Steve Swallow – reintroducing the piano and bass to his trio format, instruments that had been previously missing because Giuffre wanted to explore the possibilities of melodic composition freed from rhythmic constraints. With this trio, Giuffre was still working in that mode – as you'll hear on Bley and Swallow's incredibly free playing. The group's performances are not free jazz by any means, but they're a key link in that tradition – as Giuffre and crew do an excellent job of creating unconventional compositions, most of which feel like little sculptures in sound. There's a total of 20 tracks on 2CDs – and titles include "Cry, Want", "Trudgin", "Jesus Maria", "Ictus", "Sonic", "Whirrrrr", "The Gamut", "Herb & Ictus", and "Flight". Both records originally available on Verve, now repackaged by ECM. CD

An incredible batch of freely crafted tracks from Jimmy Giuffre's legendary early 60s trio! The group features Steve Swallow on bass and Paul Bley on piano, and the two young modernists were a perfect match of Giuffre's ever-developing ideas of freedom and harmony. The music is beautiful – with a sound that's like nothing else we can describe, and an approach that's free floating (or free falling), but never directionless, and never overindulgent. Perfectly measured, with a strong sense of melody and rhythm, even amidst the more outside moments. Titles include "Propulsion", "Threewe", "Dichotomy", "Man Alone", and "Divided Man". LP, Vinyl record album

Very cool work from that early 60s time when Jimmy Giuffre was really opening up, as on his Free Fall album – an unissued live performance done with Paul Bley on piano and Steve Swallow on bass! Titles include "Flight", "Hiptus", "Used To Be", "Venture", and "This Time This Time". LP, Vinyl record album

One of the greatest records that Charlie Haden ever did, and a record that stands as sort of a bookend to his Liberation Music album on Impulse. As with that record, he's got a large group on here, and also like that one, he's playing a batch of tracks that have a definite political bent. Players include Don Cherry, Carla Bley, Dewey Redman, Paul Motian, Jim Pepper, and Michael Mantler; and tracks include "Ballad Of The Fallen", "Too Late", "La Pasionaria", and "The People United Will Never Be Defeated". The sound's a little bit less harsh than his Impulse recording, but it's no less impassioned, and the record's a very emotional batch of music. CD

One of the greatest records that Charlie Haden ever did, and a record that stands as sort of a bookend to his Liberation Music album on Impulse. As with that record, he's got a large group on here, and also like that one, he's playing a batch of tracks that have a definite political bent. Players include Don Cherry, Carla Bley, Dewey Redman, Paul Motian, Jim Pepper, and Michael Mantler; and tracks include "Ballad Of The Fallen", "Too Late", "La Pasionaria", and "The People United Will Never Be Defeated". The sound's a little bit less harsh than his Impulse recording, but it's no less impassioned, and the record's a very emotional batch of music. LP, Vinyl record album

One of the most beautiful albums that Charlie Haden ever recorded – and if he only ever appeared on one record in his life, we'd still love him tremendously for this one! The album has a feel that's very much in keeping with both the "liberation" and "orchestra" in the title – "liberation", in that the music is filled with inspiration from South American sources, and has a strongly political feel at times; and "orchestra" because the group here is somewhat large, and filled with a tremendous array of expressive players – including Gato Barbieri on tenor, Dewey Redman on alto and tenor, Don Cherry on cornet and flutes, Michael Mantler on trumpet, Roswell Rudd on trombone, Robert Northern on French horn, Paul Motian and Andrew Cyrille on percussion, Carla Bley on piano, and Perry Robinson on clarinet. Haden leads these disparate talents through a set of tremendously focused music – filled with as many ideas as it is with a sense of humanity and soul – all to brilliantly point the way forward for the new sound of Impulse Records in the years after Coltrane's death! Titles include the classic "Song For Che", plus Ornette's "War Orphans", Carla Bley's "The Interlude", and "Song Of The United Front", by Hans Eisler, and with words by Brecht! CD

One of the most beautiful albums that Charlie Haden ever recorded – and if he only ever appeared on one record in his life, we'd still love him tremendously for this one! The album has a feel that's very much in keeping with both the "liberation" and "orchestra" in the title – "liberation", in that the music is filled with inspiration from South American sources, and has a strongly political feel at times; and "orchestra" because the group here is somewhat large, and filled with a tremendous array of expressive players – including Gato Barbieri on tenor, Dewey Redman on alto and tenor, Don Cherry on cornet and flutes, Michael Mantler on trumpet, Roswell Rudd on trombone, Robert Northern on French horn, Paul Motian and Andrew Cyrille on percussion, Carla Bley on piano, and Perry Robinson on clarinet. Haden leads these disparate talents through a set of tremendously focused music – filled with as many ideas as it is with a sense of humanity and soul – all to brilliantly point the way forward for the new sound of Impulse Records in the years after Coltrane's death! Titles include the classic "Song For Che", plus Ornette's "War Orphans", Carla Bley's "The Interlude", and "Song Of The United Front", by Hans Eisler, and with words by Brecht! LP, Vinyl record album

Charlie Haden on bass, Paul Motian on drums, and Paul Bley on piano – recorded live at the Montreal Jazz Festival. Tracks include "Ida Lupino", "Crossroads", "New Beginning", "So Far So Good", and "Turnaround/When Will The Blues Leave?". CD

Early early work by Bob James – recorded years before his classic 70s sides on electric piano, and in a brightly modern mode that recalls the spirit of Steve Kuhn and Paul Bley at the time! The set's a trio session – produced by Quincy Jones, who'd heard the young James and rushed him into the studio. Bob's playing in a group that includes Ron Brooks on bass, and the great Bob Pozar on drums – who went onto do some of his own excellent avant work in later years. The tracks are relatively straight, but have some nice jagged edges at times – and light experimentation that makes the set way more than just a standard piano trio session! Titles include "My Love", "Moment's Notice", "Quest", "Trilogy", "Nardis", and "Birk's Works". LP, Vinyl record album

A complete collection Charles Mingus' classic recordings for the Candid label – far and away some of the best recordings he ever made, and some of the few studio sessions that really let him stretch out and do his thing! Players here are a firey lineup of young modernists that includes Eric Dolphy, Ted Curson, Charles McPherson, Booker Ervin, Paul Bley, Roy Eldridge, Tommy Flanagan, Jimmy Knepper, Jo Jones and Dannie Richmond – all working here with Mingus on really long tracks that burst out with raw emotion, intense energy, and some really searing solo work! 17 tracks spread out over 4 LPs, with titles that include "Lock Em Up", "MDM", "Stormy Weather", "Folk Forms No 1", "Original Faubus Fables", "Bugs", "All The Things You Could Be If Sigmund Freud's Wife Was Your Mother", "Mysterious Blues", "Melody From The Drums", "Vasserlean" and "Wrap Your troubles In Dreams" LP, Vinyl record album

A great counterpart to the two famous Charles Mingus albums for the Candid label – really a third "lost" Candid album, recorded at the time of those sets, but never issued until many years later! As with those great dates, the work here is filled with righteous anger, unbridled emotion, and some of the most passionate jazz work of the 20th Century – directed by Mingus with unfailing energy on the bass, and featuring solo work from players who include Eric Dolphy on alto and bass clarinet, Booker Ervin on tenor, Charles McPherson on alto, Ted Curson and Lonnie Hillyer on trumpets, Jimmy Knepper on trombone, and Paul Bley on piano – all giants in their own right, most of whom gave the world some fantastic records under their own leadership too! Tracks are all nice and long, mostly from the November 11, 1960 date that featured two different groups – titles that include "Bugs", "R&R", "Reincarnation Of A Lovebird (2nd version)", "Body & Soul", and "All The Things You Are (all)". CD

A great counterpart to the two famous Charles Mingus albums for the Candid label – really a third "lost" Candid album, recorded at the time of those sets, but never issued until many years later! As with those great dates, the work here is filled with righteous anger, unbridled emotion, and some of the most passionate jazz work of the 20th Century – directed by Mingus with unfailing energy on the bass, and featuring solo work from players who include Eric Dolphy on alto and bass clarinet, Booker Ervin on tenor, Charles McPherson on alto, Ted Curson and Lonnie Hillyer on trumpets, Jimmy Knepper on trombone, and Paul Bley on piano – all giants in their own right, most of whom gave the world some fantastic records under their own leadership too! Tracks are all nice and long, mostly from the November 11, 1960 date that featured two different groups – titles that include "Bugs", "R&R", "Reincarnation Of A Lovebird (2nd version)", "Body & Soul", and "All The Things You Are (all)". LP, Vinyl record album

With Paul Bley on piano and Matt Wilson on drums! CD

Ivo Perelman on tenor saxophone, Flora Purim on vocals, Don Pullen and Paul Bley on piano, Fred Hopkins on bass, Brandon Ross on guitar, Andrew Cyrille on drums, plus Manolo Badrena, Frank Colon, Guilherme Franco, and Mor Thiam on percussion. CD

Beautiful solo piano tracks, played by Ra, and produced by Paul Bley. Ra's touch on the keys is amazing here, and although he's not backed by the rest of the Arkestra, you hardly miss them with his inventive approach to playing on his own. The set's a mix of standards – like "Yesterdays" and "Sometimes I Feel Like A Motherless Child" – and originals, like "Romance Of Two Planets", "To A Friend", and "Cosmo Rhythmatic". CD

The entirety of Kenny's first 3 sessions for Blue Note together on one 2 disc set. Arguably some of Kenny Burrell's best work! Unlike some of Kenny's other sessions, which hide his guitar in arrangements that are a bit too complicated – this one's a nicely stripped-down album that sets his hollow electric in a group with Tommy Flanagan on piano, Paul Chambers on bass, Kenny Clarke on drums, and Candido on conga. The tracks are nicely laidback, and Kenny hits some nice deep grooves on cuts like "Fugue N Blues", "Takeela", and "Delilah". Plus, the album also includes a totally cool percussion-only track – "Rhythmorama", which is a duet between Kenny Clarke and Candido! This CD adds the entire session to include the album issued as Kenny Burrell Volume 2 which featured Frank Foster's tenor on numbers like "Moten Swin", "Cheeta" and Phinupi. K.B. Blues, an early 10" side that included the title track (with an alternate take also included here), "Nica's Dream" and "Out For Blood" with tenor man Hank Mobley, is also included. CD

8 tracks that do a pretty darn good job of summing up the genius of pianist Sonny Clark during his years at the Blue Note label! The recordings feature Clark in the company of some fierce hardbop groups – with players that include John Coltrane, Hank Mobley, Paul Chambers, Donald Byrd, and Art Farmer. Titles include "Junka", "Cool Struttin", "Dial S For Sonny", "Shoutin On A Riff", and "Sonny's Crib". CD

An album that was recorded right in the middle of the fantastic run of Blue Note albums by pianist Sonny Clark – but a set that wasn't issued until many years later, even though it's one of the best of the bunch! The vibe here is prime late 50s Blue Note – not just thanks to Sonny's great work on piano, and the fresh tunes that he brought to the set – but also because the rest of the group is a really all-star lineup too – Donald Byrd on trumpet, Hank Mobley on tenor, Paul Chambers on bass, and Art Blakey on drums! The set's got Clark at his most lyrical – playing with a lot of hardbop fire, but also some touches of Horace Silver soulfulness, a perfect match for session-mates Donald Byrd and Hank Mobley. Mobley's in particularly fine form at this point, and the whole set's a real winner! Titles include "Junka", "Blues Blue", "Minor Meeting", and "Royal Flush". The record is paired here with another lost session, one from 1957 that features Clifford Jordan on tenor and Kenny Burrell on guitar. There's a total of 9 brilliantly remastered tracks on the CD – and the set's one of the best bunch of tracks we've ever heard from the great lost piano talent of Sonny Clark. CD

The team of Coltrane and Mobley seems like a strange pairing from the perspective of the history books – but at the time, the pair were two of the brightest new stars on the tenor, each with a sound and style that would make them huge, so it was no surprise that they were brought together for a blowing session like this on Prestige. The set's got a nice open ended feel – with 4 long tracks that give the players plenty of solo room, and a group that includes Donald Byrd on trumpet, Elmo Hope on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Titles include "On It", "Weeja", "Avalon", and "Polka Dots & Moonbeams". LP, Vinyl record album

The team of Coltrane and Mobley seems like a strange pairing from the perspective of the history books – but at the time, the pair were two of the brightest new stars on the tenor, each with a sound and style that would make them huge, so it was no surprise that they were brought together for a blowing session like this on Prestige. The set's got a nice open ended feel – with 4 long tracks that give the players plenty of solo room, and a group that includes Donald Byrd on trumpet, Elmo Hope on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Titles include "On It", "Weeja", "Avalon", and "Polka Dots & Moonbeams". LP, Vinyl record album

Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "All Of You", "No Blues", "Bye Bye" and "Walkin". CD

Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "All Of You", "No Blues", "Bye Bye" and "Walkin". LP, Vinyl record album

Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "Neo", "So What", "Fran Dance", and "Well You Needn't". LP, Vinyl record album

Extra material from the 1961 date at Carnegie Hall, an astounding live set that featured Miles in a transitional quintet with Hank Mobley, Wynton Kelly, Paul Chambers and Jimmy Cobb, and also with the Gil Evans Orchestra. The performance is rendered with a subtle grace, an excellent portrait of Miles at a pivotal point in his career, moving on from his early command of bop and explorations of the cool, but not yet exploding his sound altogether with the modal approach that he would soon adopt. Side one features "Concierto De Anranjuez", and side two features "Teo", 'Walkin" and "I Thought About You". LP, Vinyl record album

Sparkling live work from Miles Davis – and a set that captures both sides of his talents on Columbia at the time! Half the material features a smoking quintet – with Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and the other half of the date features a larger orchestra led by Gil Evans – in the modern mode that make the Miles/Evans collaborations sound so great on some of the pair's studio records! Together, the material offers up a beautiful live portrait of Davis' early 60s genius – allowed a bit more space to roam in the live setting, on titles that include "So What", "New Rhumba", "Lament", and "No Blues" – all taken at a bit of a faster clip than in the studio, as Miles was wont to do in a live performance! 2CD set features the full concert in one package – including material issued on the More From Carnegie Hall record – 11 tracks in all. CD

Sparkling live work from Miles Davis – and a set that captures both sides of his talents on Columbia at the time! Half the material features a smoking quintet – with Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and the other half of the date features a larger orchestra led by Gil Evans – in the modern mode that make the Miles/Evans collaborations sound so great on some of the pair's studio records! Together, the material offers up a beautiful live portrait of Davis' early 60s genius – allowed a bit more space to roam in the live setting, on titles that include "So What", "New Rhumba", "Lament", and "No Blues" – all taken at a bit of a faster clip than in the studio, as Miles was wont to do in a live performance! 2CD set features the full concert in one package – including material issued on the More From Carnegie Hall record – 11 tracks in all. CD

Sparkling live work from Miles Davis – and a set that captures both sides of his talents on Columbia at the time! Half the material features a smoking quintet – with Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and the other half of the date features a larger orchestra led by Gil Evans – in the modern mode that make the Miles/Evans collaborations sound so great on some of the pair's studio records! Together, the material offers up a beautiful live portrait of Davis' early 60s genius – allowed a bit more space to roam in the live setting, on titles that include "So What", "New Rhumba", "Lament", and "No Blues" – all taken at a bit of a faster clip than in the studio, as Miles was wont to do in a live performance! CD

Sparkling live work from Miles Davis – and a set that captures both sides of his talents on Columbia at the time! Half the material features a smoking quintet – with Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and the other half of the date features a larger orchestra led by Gil Evans – in the modern mode that make the Miles/Evans collaborations sound so great on some of the pair's studio records! Together, the material offers up a beautiful live portrait of Davis' early 60s genius – allowed a bit more space to roam in the live setting, on titles that include "So What", "New Rhumba", "Lament", and "No Blues" – all taken at a bit of a faster clip than in the studio, as Miles was wont to do in a live performance! 8 tracks in all. CD

Originally a 2LP set, but now a 4CD package – with 14 previously unissued tracks! Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "Neo", "So What", "Fran Dance", and "Well You Needn't". CD

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". LP, Vinyl record album

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". CD

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". LP, Vinyl record album

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". CD

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". CD

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". Includes the bonus tracks "Blues No. 2" and "Someday My Prince Will Come (alt take)". CD