Ruby Braff has a ball on this rare date for Bethlehem Records – a set that's got a live, loose feel that's quite different than some of Ruby's other records! The date was recorded on New Years Eve, at the end of 1954 – and it features Braff stepping out with these surprisingly human, almost fragile solos in the company of a small group that features Eddie Hubble on trombone, Dick Katz on piano, Sam Margolis on tenor, Gene Ramey on bass, and Izzy Sklar on drums. The liveness really makes for a different record than the usual Braff date – and titles include "Rosettana", "You Can Depend On Me", "I'm Gonna Sit Right Down & Write Myself A Letter", and "Sometimes I'm Happy". CD

The complete works of Helen Carr – one of the best female jazz singers to record for the Bethlehem label, and an icy-voiced siren with a wonderful style. The set features 20 tracks in all – lifted from one full LP and a shorter 10" set – and all cuts feature small group backing, with players like Howard Roberts, Don Fagerquist, Max Bennett, Red Mitchell, and Charlie Mariano, whose icy alto really adds a new dimension to the set. The CD's worth it alone for Carr's classic reading of "Down In The Depths Of The 90th Floor" – but also includes many other great tracks, like "Lonely Street", "Do I Worry", "Not Mine", "I Don't Want To Cry Anymore", and "Memory Of The Rain". CD

The complete recordings done by John Coltrane for Bethlehem Records – mostly cut during December of 1957, and issued on the albums The Winner's Circle and Art Blakey Big Band! Both albums were a bit unusual for the label – in that The Winner's Circle was sort of a blowing/jam session type record, cut with some of the big poll winners of the year, but with shorter tracks than the usual Prestige-styled set of that nature. The lineup includes Donald Byrd, Al Cohn, Eddie Costa, Oscar Pettiford, and Philly Joe Jones – and Coltrane's a bit buried in the group, but gets out some nice licks from time to time. The second set of tracks was recorded for a unique big band session led by Art Blakey – featuring a core group with Coltrane, Donald Byrd, Walter Bishop Jr, and Wendell Marshall on some tracks – plus a larger lineup on a number of others. The CD brings together a whopping 27 tracks from these sessions, including some great alternate takes – and titles include "Midriff", "Tippin", "The Outer World", "The Kiss Of No Return", "Pristine Take", and "Oasis" – a previously unreleased track! CD

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Features backing by Ralph Sharon's Group (with Herbie Mann on flute and JJ Johnson & Kai Winding on trombones), Mat Mathews' Quartet (with Herbie Mann on tenor and flute), Bobby Troup's Quintet (with Buddy Collette on flute, Howard Roberts on guitar, and Bob Enevoldsen on bass), and Vinnie Burke's Quartet (with Art Mardigan on drums). CD

A great set that brings together rare work by two lost female jazz vocalists from the 50s! Both Audrey Morris and Paula Castle recorded for the Bethlehem label during the time – in a cool, icy style that was similar to work by the label's more famous singer, Chris Connor – and both Audrey and Paula had a similar simple jazz-based approach that makes their work well worth tracking down if you're a fan of female singers. Audrey's represented here by 12 tracks – including "What More Women Do", "If Love Were More", "Blue Turning Gray", "If You Could See", and "I Go For That". Paula gets 8 tracks on the set – lifted from a rare 10" LP – and featuring the titles "Shooting High", "Yesterday's Gardenias", "Lost Love", and "Love Is A One Way Street". CD

Featuring Charlie Mariano, Jimmy Giuffre, Bill Holman, and Claude Williamson. CD

Music from Johnny Hartman, Nina Simone, Chris Connor, Mel Torme, Betty Roche, Carmen McRae, Joe Derise, Helen Carr, Paula Castle, Audrey Morris & the Pat Moran Quartet. CD

A pivotal moment in the development of Australian jazz – as a quintet featuring Don Burrows, the country's greatest reed player of the 60s and 70s, got this rare chance to cut a record for a US label during an American tour! Even at a young age, Burrows is fantastic on a range of horns – alto, baritone, and flute – and he's working here with tenorist Dave Rutledge, pianist Terry Wilkinson, bassist Freddy Logan, and drummer Ron Webber – a group of lesser-known players, but who really keep up with Burrows' inventive lines. Tracks are short and arranged by the group with a breezy boppish feel – and titles include "Criss Cross", "Pearly", "Steynelus", "Freshwater", "Lotus Bud", and "Down The Mine". Cool "surf" cover, too! CD also features the bonus track "Sky Lounge Blues". CD

Forget the hokey kangaroo picture on the cover, because the record's a mighty sweet set of 50s modern jazz – played by some key musicians from Australian who were working in the US at the time! The record's got a style that's somewhere between the hippest sessions of LA and Sweden at the time – all the coolness of both scenes, but a sense of playful expression that really comes through on some of the more unusual passages. The core group features Errol Buddle and Dick Healey on reeds, Bryce Rhode on piano, and Jack Brokensha on vibes – with added work from John Fawcett or Jimmy Gannon on bass, and Nick Stabulas on drums. Titles include "Loose Walk", "Like Someone In Love", "Music For Walkin", "Fascinating Rhythm", "A Foggy Day", and "Little Girl Blue". CD

One of the coolest records ever from this unique 50s group – not just for the presence of drummer Osie Johnson, who's the "plus one" in the title – but also for the range of interesting material in the set! Side one features the extended "Jazz In D Minor" suite – penned by Bill Holman, and a great showcase for the group's creative reed work from Dick Healey and Errol Buddle – the latter of whom plays some bassoon at a level that's a lot more swinging than you might expect. And as on other albums, the real highligh comes from the enigmatic piano of Bryce Rhode and vibes of Jack Brokensha – who shade things in wonderfully, and create a sense of color that's hard to match. In addition to the large suite on side one, other tracks include "Cubano Chant", "Star Eyes", and "You'd Be So Nice To Come Home To". CD

The style's never too free here – not in an avant jazz way – but the group's definitely opening up a bit more than before, and making even more magic with their music! The lineup has changed a bit from earlier albums from this combo – but key Australian players are still very much on hand – the great Bryce Rhode on piano, Jack Brokensha on vibes, and Errol Buddle on reeds! Rhode is one of the best pianists of the time – sadly overlooked upon his 60s return to Australian (where he made some wonderful records) – and his careful sense of tone really starts things off wonderfully – and brings more out of the vibes than we've ever heard on Brokensha's later records. Titles include the long "Take Three Parts Jazz" suite – plus "Detour Ahead", "I'll Remember April", "Bewitched", and "Swingin Goatsherd Blues". CD

A dozen tracks from Ruby Braff's 12" and 10" albums for the Bethlehem label – with work from Mundell Lowe on guitar, Johnny Guarnieri and Ellis Larkins on piano, Bob Wilber on tenor, and Al Klink on alto! CD

No holiday for Ruby Braff – not when he's working so hard to make a record like this sound so great! The session's an overlooked gem recorded for Bethlehem in the 50s – and it's got Ruby's trumpet stepping out strongly with a larger group arranged by Bob Wilber – in a great mix of 50s styles and older modes that really help Braff show off his wide range of phrasing! There's none of the hoke here that you might hear on other Ruby albums of this vintage – and the trumpet solos have this surprisingly hard edge at times, even when trying to sound sweet. Titles include "When You're Smiling", "Easy Living", "I'll Be Around", "Pullin Through", and "You're A Lucky Guy". CD

One of the most hard-hitting sessions ever recorded for the Bethlehem label – and a rare date for the imprint by the team of trumpeter Donald Byrd and saxophonist Pepper Adams! The style here is similar to work the pair recorded for Riverside and Blue Note at the same time – razor-sharp hardbop, played with a strong sense of imagination, and plenty of room for drawn-out, creatively-blown solos. Adams is especially great – playing the baritone here with the leanness of a tenor sax – but Byrd is wonderful too, and really starts to break out of some of the more staid modes of his work from a few years back. The group's a sextet that includes guitarist Kenny Burrell, pianist Tommy Flanagan, bassist Paul Chambers, and drummer "Hey" Lewis (another name for Louis Hayes?) – on titles that include "Trio", "Philson", "Libeccio", and "Bitty Ditty". CD

One of the best 50s albums from trumpeter Conte Candoli – and that's saying a heck of a lot, given how often Conte recorded during the decade! The set's got an edge you don't always find on other Candoli sessions – especially some of the large group material – and the group's nice and small, and very tight – with Bill Holman on tenor, Lou Levy on piano, Larry Marable on drums, and Leroy Vinnegar on bass. The quintet cooks wonderfully – with very sharp, soulful solos from both Holman and Candoli – at a level that's got more of the Mode Records bite than some other Bethlehem sides from the west coast at the time. Obviously, the rhythm section's a great one – and really helps the record cook – on titles that include "Full Count", "Four", "Groovin Higher", and "Jazz City Blues". CD

One of the darkest vocal jazz albums of the 50s – packaged with a great title and cover image that features a lone lit window in a New York skyscraper! Helen's got some incredible backing on the record – a small combo that includes Charlie Mariano on alto sax, Don Fagerquist on trumpet, and Donn Trenner on piano – all gently sliding in behind Carr's blue vocals in a way that's similar to some of the Chris Connor work on Bethlehem from the same time. Titles include a near-perfect reading of "Down In The Depths On The 90th Floor", plus "Not Mine", "Tulip Or Turnip", "Moments Like This", "I'm Glad There Is You", and "Memory Of The Rain". CD

A great Bethlehem Records date from vibes man Teddy Charles – stepping out here in a set that's one of his most openly swinging of the time! The record still has some of the modern currents of Teddy's other work, but also makes great use of Zoot Sims on tenor – really pushing him out front for some bold solos on most numbers – in a great group that also includes Jimmy Raney on guitar, Sam Most on flute, and Dave McKenna on piano. There's a bit of audience noise at times, but we can't tell for sure if this is an actual live album – given the clarity of the performances throughout. Titles include "Nigerian Walk", "Rifftide", "Yesterdays", "That Old Black Magic", and "Yale Blue". CD

An excellent CD that brings together 24 tracks lifted from some of Chris' lesser-known recordings for the Bethlehem label – including some tunes from eps and early 10" LPs. Backing on the set is by The Ellis Larkins Trio, The Vinnie Burke Quartet, The Ralph Sharon combo, and Sy Oliver's orchestra – and the CD features tracks that include "All about Ronnie", "In Other Words", "A Good Man Is A Seldom Thing", "I Hear Music", "Out Of This World", and "Lush Life" – in both original and alternate versions. CD

A great set of tracks that represents some of Chris Connor's first recordings as a solo act – culled from earlier ep and 10" releases, and issued here on a full LP with a total of 15 tracks. Backing is by three groups – the Ellis Larkin Trio, Vinnie Burke's Quartet, and Sy Oliver's Orchestra – and Chris is in fine fine form, vocalizing with that icy tone we love so much, a bit sad, and a bit mellow, but always heartfelt, without the forced emotion of other singers of her generation. Titles include "Stella By Starlight", "Goodbye", "Spring Is Here", "Ask Me", "Lullaby Of Birdland", "Try A Little Tenderness", and "He's Coming Home". CD

A great set of tracks that represents some of Chris Connor's first recordings as a solo act – culled from earlier ep and 10" releases, and issued here on a full LP with a total of 15 tracks. Backing is by three groups – the Ellis Larkin Trio, Vinnie Burke's Quartet, and Sy Oliver's Orchestra – and Chris is in fine fine form, vocalizing with that icy tone we love so much, a bit sad, and a bit mellow, but always heartfelt, without the forced emotion of other singers of her generation. Titles include "Stella By Starlight", "Goodbye", "Spring Is Here", "Ask Me", "Lullaby Of Birdland", "Try A Little Tenderness", and "He's Coming Home". CD

An album as incredible as its bulls-eye cover – the first record ever from a young Bob Dorough – and easily one of his most swinging sessions! The style here is a bit straighter jazz than on some of Bob's later work – vocalese inspired by Jon Hendricks, King Pleasure, Eddie Jefferson, and others – recorded with a small combo that includes Jack Hitchcock on vibes, Warren Fitzgerald on trumpet, Jerry Segal on drums, and Bob's longtime partner Bill Takas on bass. Many of the tunes are vocalized versions of bop numbers – done with a nicely quirky style that shows that the mad Dorough touch was already in place during these early years – on titles that include "It Could Happen To You", "Polka Dots & Moonbeams", "Baltimore Oriole", "Yardbird Suite", "Devil May Care", and "Ow" – plus his great original "You're The Dangerous Type"! CD

An album as incredible as its bulls-eye cover – the first record ever from a young Bob Dorough – and easily one of his most swinging sessions! The style here is a bit straighter jazz than on some of Bob's later work – vocalese inspired by Jon Hendricks, King Pleasure, Eddie Jefferson, and others – recorded with a small combo that includes Jack Hitchcock on vibes, Warren Fitzgerald on trumpet, Jerry Segal on drums, and Bob's longtime partner Bill Takas on bass. Many of the tunes are vocalized versions of bop numbers – done with a nicely quirky style that shows that the mad Dorough touch was already in place during these early years – on titles that include "It Could Happen To You", "Polka Dots & Moonbeams", "Baltimore Oriole", "Yardbird Suite", "Devil May Care", and "Ow" – plus his great original "You're The Dangerous Type"! CD

One of the greatest albums on the Bethlehem label – and one of the first albums as a leader by the legendary Booker Ervin! At the time of the set, Ervin had come off a great stint with the Charles Mingus group – one that inflected his rootsy Texas tenor tones with a sharper modern edge – heard to perfection on this great little session, which is equal parts hard swinging soul jazz and dark-tinged early 60s modern! Zoot Sims joins Booker in the front line, and the two of them trade tenor solos throughout on the album's long compositions – grooving with a great sextet that includes Tommy Turrentine on trumpet, Tommy Flanagan on piano, and Mingus' drummer Dannie Richmond on the kit! Cuts include "Largo", "The Book Cooks", "The Blue Book", and "Git It". CD

One of Dexter Gordon's proudest moments of the 50s – a rock-solid session for Bethlehem – easily one of the best-remembered hardbop sides from the label's California years! The album's got a relaxed, free-blown sound that's quite nice – with Dex in the lead on tenor, supported by the trio of Kenny Drew on piano, Leroy Vinnegar on bass, and Lawrence Marable on drums. Gordon's perhaps not as fully imaginative as he would become in the 60s, but his sound and control is still great throughout – and the rhythm section really helps knock this one out of the park. Titles include versions of "Darn That Dream", "Autumn In New York", "You Can Depend On Me", and "Confirmation", plus two originals "Number Four" and "Daddy Plays The Horn". CD

One of the strongest albums ever cut by trombonist Urbie Green – a player who had a heck of a lot of talent, but who unfortunately could sometimes end up in some schmaltzy settings. Fortunately, this isn't one of them – as the group includes players like Jimmy Lyon on piano, Oscar Pettiford on bass, Osie Johnson on drums, and Ike Horowitz on tenor – actually a nom-du-date for Al Cohn! The arrangements are tight, but never too much so – and there's a good degree of spirit in both the playing, and the compositions – some of which are by arranger Marion Evans. Titles include "Sneaky Pete", "Sassafras", "Melody In Bb", "How About You", and "Mutation". CD

Although the world always remembers Johnny Hartman best for his Impulse recordings with Coltrane, we've always dug some of his earlier stuff – like this album – because the sound's a bit rawer, and the style's got more of a kick! The magical Hartman voice is presented in two great settings – one a small orchestra directed by Frank Hunter, the other an even cooler group headed by Ernie Wilkins – with great horn work from players who include Anthony Ortega, Howard McGhee, Jerome Richardson, and Lucky Thompson! The tracks are familiar, but done with that dusky Hartman style – and titles include "I Could Make You Care", "The Lamp Is Low", "Stella By Starlight", "All Of Me", and a very haunting rendition of "The End Of A Love Affair". CD

A nice little album from Johnny Hartman – recorded back in the mid 50s for Bethlehem, in the years before he recorded his more famous dates for the Impulse label! The set has Johnny singing nice and mellow – with backing by a group led by pianist Ralph Sharon, one of Tony Bennett's longtime accompanists, with added trumpet by Howard McGhee – which creates some nicely moody interplay in the relatively spare setting of the session. Hartman's vocals are a dream, as always – and tracks include "What Is There To Say", "Moonlight In Vermont", "I'll Remember April", "Down In The Depths", "I Fall In Love Too Easily", and "We'll Be Together Again". CD

An obscure vocal jazz gem from the LA scene of the 50s – recorded for Atlantic, but done in a style that's a fair bit like the best work for Bethlehem or Mode at the time! Betty Bennett sings here with backings from Shorty Rogers on one side, and Andre Previn on the other – often in a mode that's slightly dark, and subdued – gently moving forth with a nice sense of restraint. Betty's vocals burst out nicely at times – showing a nicely illustrative style, especially on some of the more story-based tunes – and there's a nice choice of material here that's a refreshing change from some of the overdone standards on other vocal albums. Tracks include "Sidewalks Of Cuba", "Island In The West Indies", "Tomorrow Mountain", "This Is The Moment", and "Treat Me Rough". CD

A warm set of solo tracks from pianist Dave Brubeck – a record that's a fair bit different than the early material you might know from the jazz legend, with a very personal, intimate quality that really fits the spirit of the season! Dave's work on the keys isn't nearly as modern as in the early days – and there's a nice dose of sentiment that really matches the right Holiday flavor for the material – a set list that includes "Away In A Manger", "Santa Claus Is Coming To Town", "To Us Is Given", "Run Run Run To Bethlehem", "Jingle Bells", "The Christmas Song", and "What Child Is This". CD

Al Cohn on the saxophone – blowing in that lean, clean style he first perfected in larger groups - then really used to perfection when he could open up in a smaller combo setting like this! The album's a nice change from some of Cohn's more tightly arranged records of the 50s – and features his strong tenor right out front – in a group that also features Frank Rehak on trombone, Hank Jones on piano, Milt Hinton on bass, and Osie Johnson on drums. There's a nice swing and tight solos on the set – which almost has a 50s Bethlehem Records vibe – and Cohn contributes the original tunes "Be Loose", "Good Ol Blues", and "Abstract Of You" – and the rest of the tracks include "We Three", "Idaho", "When Day Is Done", and "Blue Lou". CD also features a bonus track – "Them There Eyes". CD

Chris' Craft is a great one here – beautifully simple and straightforward jazz vocals, served up at a level that few other singers can match! The album's one of our favorites from Connor's classic years with Atlantic – as it's got a mellow, moody approach that's filled with the darker tones that first caught our ears on Chris' earliest recordings for Bethlehem. Instrumentation here is mostly small combo – arranged by Stan Free, and featuring Free on piano, Bobby Jaspar on flute, Mundell Lowe on guitar, George Duvivier on bass, and Ed Shaughnessy on drums. Titles include "Be A Clown", "Be My All", "Good For Nothin", "Moonlight In Vermont", "The Night We Called It A Day", "Lover Man", and "On The First Warm Day". CD

They got the "jazz date" right in the title on this one – as Chris Connor works here with some exceptional small combo backing – all in a mode that almost takes her back to the earliest sound of her first few records on Bethlehem! Ralph Sharon's the maestro here – handling all the arrangements for a few small combos with players who include Oscar Pettiford on bass, Sam Most on flute, Eddie Costa on vibes, Joe Puma on guitar, and Lucky Thompson and Al Cohn on tenor – all modern-minded players who turn out to be a really great fit for Connor on the date. A few numbers even feature added Latin percussion from Mongo Santamaria – and titles include "All I Need Is You", "Driftwood", "Fancy Free", "It Only Happens When I Dance With You", and "Lonely Town". CD features 2 bonus tracks – "Misty" and "Senor Blues". CD

A whopping great 47 track, 2CD package – one that features nearly all the recordings made by the team of vibist/pianist Eddie Costa and guitarist Sal Salvador! They almost should have billed this one under the name of Salvador – as most of the tracks on the set are from albums issued under Salvador's name – including the Capitol album Kenton Presents Sal Salvador, the Bethlehem record Frivolous Sal, and the 1956 session Shades Of Sal Salvador. Remaining titles on the set are from the Salvador/Costa quartet album Tribute To The Greats – and the brilliant Bethlehem sextet session by Frank Socolow – entitled Shades of Socolow. Whew, now that we've gotten all the discographical information out of the way, let us just say what a great pair Salvador and Costa are together – as Sal's warmly chromatic work on the guitar was always a great match for the thoughtful and spacious work that Eddie brought to his vibes and piano. The 2CD set allows you to hear the team in a variety of settings – but usually always a small group one, carried off with just the right blend of modern and personal styles! CD

One of Duke's most popular albums of the 50s – but we won't hold that against him! The session's one of a number of 50s outings that revisit older classics with the new level of quality offered in the studio – and it's got a similar feel to some of Duke's work for Bethlehem around the same time, which was also done by producer Gus Wildi – tight, but never too facile – and a perfect demonstration of the great balance the Ellington orchestra had at the time. The group includes key players Ray Nance, Cat Anderson, Clark Terry, Juan Tizol, Harry Carney, Paul Gonsalves, and Jimmy Hamilton – and titles include "Black & Tan Fantasy", "Rockin In Rhythm", "Flying Home", "Happy Go Lucky Local", and "In The Mood". CD

The first Riverside album by Bev Kelly – an obscure ice-blond singer from the late 50s, with a sound that's much more in keeping with some of the vocalists on the Bethlehem label, than the few singers who cut sides for Riverside. Bev's got the great fortune to be working here with Jimmy Jones, who's done some great work for Sarah Vaughn over the years – and the small group backing on the album includes strong players like Kenny Burrell, Jerome Richardson, Milt Hinton, Roy Haynes, and Jones himself. Titles include "My Ship", "Lonelyville", "Lost April", "Love Look Away", "Thursday's Child", "Love Locked Out", and "Gloomy Sunday". A nice sad one – in case you couldn't guess by the titles! CD

A really dark little album of vocal jazz from 50s singer Barbara Lea – recorded here with small combo backing, and a strange sound that's a fair bit different than most other efforts of this type from the time! At one level, there's definitely a leaner 50s vocal jazz approach going on – similar to work on Bethlehem – but Barbara also serves things up with some odd notes of nostalgia and sentimentality, echoing earlier eras not in the style of the music, but almost in a sense of sadness and wistfulness that comes through in her vocals. The style's quite a change from the iciness of other postwar chanteuses – but it's also not as overly emotional as those from other eras either. Players in the groups include Dick Cary on piano, Jimmy Raney on guitar, Johnny Windhurst on trumpet, and Jimmy Lyons on piano. Titles include "Will I Find My Love Today", "Sleep Peaceful Mr Used To Be", "Am I In Love", "Autumn Leaves", "We Could Make Such Beautiful Music Together", and "More Than You Know". CD

A pivotal album in the career of Peggy Lee, and one that marked her turning from a singer of pop and swing material, to a sensitive interpreter of jazz material. The album's one of the best-ever by Peggy, and features the kind of material that's not easy to find amidst the bulk of her pop-oriented work – a moving set of ballads and torchy numbers, recorded in small-combo fashion, in a style that's similar to some of Chris Connor's later Bethlehem work. The combo includes Cootie Chesterfield on trumpet, Jimmy Rowles on piano, Max Wayne on bass, and Ed Shaughnessy on drums. A real treasure – with titles like "A Woman Alone With The Blues", "Love Me Or Leave Me", "Easy Living", and "Black Coffee". This reissue features all 12 tracks from the full-length LP. CD

A pivotal album in the career of Peggy Lee, and one that marked her turning from a singer of pop and swing material, to a sensitive interpreter of jazz material. The album's one of the best-ever by Peggy, and features the kind of material that's not easy to find amidst the bulk of her pop-oriented work – a moving set of ballads and torchy numbers, recorded in small-combo fashion, in a style that's similar to some of Chris Connor's later Bethlehem work. The combo includes Cootie Chesterfield on trumpet, Jimmy Rowles on piano, Max Wayne on bass, and Ed Shaughnessy on drums. A real treasure – with titles like "A Woman Alone With The Blues", "Love Me Or Leave Me", "Easy Living", and "Black Coffee". This reissue features all 12 tracks from the full-length LP. CD

Brilliant work by Peggy Lee – very different than most of her later more pop-oriented recordings! Peggy signed to Decca as a solo act right after working with bigger bands in the 40s, and her recordings for the label are wonderful – featuring many ballads and torchy numbers, recorded in small-combo fashion, in a style that's similar to some of Chris Connor's later Bethlehem work, plus some larger arrangements that push her even further, and which move into a wealth of interesting styles that show her to be an incredibly talented vocalist. The package features a total of 46 tracks in all – and tracks include "Black Coffee", "Lover", "You Go To My Head", "Let Me Go Lover", "Joey Joey Joey", "My Old Flame", "Street Of Dreams", "Where Flamingos Fly", "Johnny Guitar", "Sisters", "Bouquet Of Blues", "Love Letters", and "Sans Souci". CD

Fantastic Frank Strozier is a seminal early recording from one of our favorite reed players ever! In the late 1950s, the young Frank Strozier came up to Chicago from Memphis, along with his longtime friend, pianist Harold Mabern. The two of them both settled nicely in the city's MJT+3 combo, where they proceeded to record some incredible hardbop sessions for Vee Jay. During that same time, Strozier began to emerge as a strong soloist and a competent leader in his own right, and Vee Jay gave him a much-needed crack at this debut album. The session's a perfect showcase for Strozier's lyrical beauty, and given the quality of the work, it's a wonder he was never more famous. The group's a quintet, and Strozier's ably teamed with Booker Little, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Titles include "WK Blues", "A Starling's Theme", "Off Shore", "Lucka Duce", and "Tibbit". Booker Little & Friend is a fantastic sextet session recorded in 1961, shortly before Booker Little's death – and filled with all the promise and power he ever packed into his playing! There's a sharp, angular groove to many of the numbers here – that mix of modern and hardbop that was cresting best in the early 60s Blue Note generation – and which echoes some of the work that Little had done with Max Roach in the years before this date. The lineup's filled with great players to help Book realize his strongest musical vision – Julian Priester on trombone, George Coleman on tenor, Don Friedman on piano, Reggie Workman on bass, and Pete LaRoca on drums – and although the set's issued on the sometimes-staid Bethlehem label, it's got all the sharper edges of an early 60s date on a label like Impulse or Candid! Titles include "Matilde", "Booker's Blues", "Forward Flight", and "Victory and Sorrow". CD

This album was the 7th in the Contemporary series of "Shelly Manne & His Men", but it's also easily the best, and features some of the most exciting playing of any of Manne's groups. The success of the whole album comes down to Charlie Mariano, who wrote a large number of the tracks, and who's at the height of his powers on alto here – hitting a beautiful mix of icy modernism and Boston soul, in the tradition of some of his best Bethlehem recordings. Side one features an extended work called "The Gambit", which has a nice blend of far-reaching soloing and tight jazzy rhythm. Other titles include "Blue Gnu", "Hugo Hurwhey", and "Tom Brown's Buddy" – and players include Stu Williamson and Russ Freeman. CD

An obscure Howard McGhee session, but a great one! The 1961 session was recorded during Maggie's great comeback years – at a time when he was doing some great work for labels that included Bethlehem, Contemporary, and United Artists. The spirit of this set is similar to those – sort of an easy-going blend of light bop with some of the gentler swinging tones that McGhee was putting into his horn at the time. The quintet on the set features George Coleman on tenor, Junior Mance on piano, George Tucker on bass, and Jimmy Cobb on drums – and the whole thing's got an easygoing mellow feel that we really like a lot. Titles include "The Sharp Edge", "Cool", "Shades Of Blue", "Arabee", and "My Delight". CD features some bonus alternate takes, too! CD

Dave McKenna gives his own solo piano take on the Holiday classics – titles include "Silver Bells", "Adeste Fideles", "O Little Town Of Bethlehem", "It Came Upon A Midnight Clear", "Santa Claus Is Coming To Town", "Sleigh Ride", and "O Tannenbaum". CD

Icy brilliance from a young Helen Merrill – The Nearness Of You – a record that's easily the Mercury equivalent of June Christy's classic work on Capitol or Chris Connor's classics for Bethlehem! Helen's working here with small combo backings on all tracks – carved out with players who include Bobby Jaspar, Bill Evans, Oscar Pettiford, and George Russell – all swinging gently alongside the vocals, but also taking care to shade things in with some of the darker, bluer colors that always worked best for Merrill – and which made her voice echo with a depth that few other singers could match! Titles include "When The Sun Comes Out", "I Remember You", "Summertime", "Let Me Love You", and "All Of You". You've Got A Date With The Blues – maybe our favorite album ever from Merrill – certainly from the early days – and a unique outing cut for MGM's excellent Metrojazz label! The set's got a more laidback sound than Merrill's previous records – and a definite bluesy undercurrent too – one that comes through strongly in the piano and arrangements of Jimmy Jones, and in the tremendous tenor work from Frank Wess – whose playing on the record gives the set a soulful quality we're not used to hearing with Helen! Tunes all follow the theme of the title – but are done in really inventive ways, especially when Wess gets a chance to solo – and titles include "Blues In My Heart", "The Blues", "The Thrill Is Gone", "You've Got A Date With The Blues", "The Meaning Of The Blues", and "Vous M'Ebloussez". CD

One of Charles Mingus' excellent albums for the Bethlehem label – recorded during that magical year of 1957, a real turning point in his career! There's a sharpness here to Mingus' musical vision that hadn't shown up in previous years – a refinement of ideas expressed for Savoy and Prestige on previous sessions, drawn with tighter tension, and a bolder sense of spirit and emotion throughout. The group's a well-chosen batch of modernists – with Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, Clarence Shaw on trumpet, and the surprising addition of Bill Evans on piano – sounding a fair bit bolder here than elsewhere. Titles are almost all Mingus originals with a great balance of modern structures and freer solo moments – and tracks include "Conversation", "West Coast Ghost", "Fifty First Street Blues", "East Coasting", and the sublime "Celia", which Mingus and Hadi performed in the film Shadows by John Cassavettes. CD

One of Charles Mingus' true classics – and an essential album in any jazz collection! This 1959 gem was recorded by Mingus at a key point in his career – when he was rising from the jazz underground into the ranks of America's elite jazzmen, penning some of the most challenging work of his career, and working with incredible younger players that interpreted his work with a great deal of fire! The tracks are a bit more tightly arranged than work on some of Mingus' previous work for labels like Atlantic and Bethlehem, but that also gives them a razor-sharp emotional edge that's carried off perfectly by players who include John Handy and Shafi Hadi on alto saxes, Booker Ervin on tenor, Willie Dennis and Jimmy Knepper on trombones, Horace Parlan on piano, and Dannie Richmond on drums. The album is filled with key Mingus classics – like "Better Git It In Your Soul", "Boogie Stop Shuffle", "Goodbye Pork Pie Hat", and "Fables of Faubus" – plus "Self Portrait In Three Colors", "Open Letter To Duke", and "Bird Call". CD

One of Charles Mingus' true classics – and an essential album in any jazz collection! This 1959 gem was recorded by Mingus at a key point in his career – when he was rising from the jazz underground into the ranks of America's elite jazzmen, penning some of the most challenging work of his career, and working with incredible younger players that interpreted his work with a great deal of fire! The tracks are a bit more tightly arranged than work on some of Mingus' previous work for labels like Atlantic and Bethlehem, but that also gives them a razor-sharp emotional edge that's carried off perfectly by players who include John Handy and Shafi Hadi on alto saxes, Booker Ervin on tenor, Willie Dennis and Jimmy Knepper on trombones, Horace Parlan on piano, and Dannie Richmond on drums. The album is filled with key Mingus classics – like "Better Git It In Your Soul", "Boogie Stop Shuffle", "Goodbye Pork Pie Hat", and "Fables of Faubus" – plus "Self Portrait In Three Colors", "Open Letter To Duke", and "Bird Call". CD features 3 rare bonus tracks – "GG Train", "Girl Of My Dreams", and "Pedal Point Blues" – and also features 4 tracks presented here in their full versions, not the edited ones that appeared on the original LP. CD