A sweetly soulful set that proves that Wynton Kelly working for Verve was a heck of a great idea! There's a cohesion and direction to the session that's missing from some of Kelly's other work of the 60s – even though the format is mostly the same, with trio backing that includes Paul Chambers on bass and Jimmy Cobb on drums. The tunes skip along with a really great little groove – soulful and lyrical, but always concerned with the swing – hitting all the right notes without any hoke, and making us love Kelly more than we expected! Titles include "Swinging til The Girls Come Home", "My Ship", "Out Front", "Never", "Blues On Purpose", "If You Could See Me Now", and "Six Eight" – plus the great Latin-ized groover "Bobo", which features some nice work by an uncredited flute player! CD

Rock-solid work from Wynton Kelly – a standout trio side from the early 60s, and one of his few dates recorded for Vee Jay Records! Kelly seems to have a bit more kick here than in the 50s – and a bit more of a down to earth quality than on his later sides for Verve – really laying back on the keys of the piano, and getting some great help from a rhythm group that features Jimmy Cobbs on drums, and either Sam Jones or Paul Chambers on bass. The tunes are mostly familiar numbers, but they're offset by a few strong Kelly originals – including "Joe's Avenue" and "Sassy" – amidst other titles that include "Love I've Found You", "Autumn Leaves", "Gone With The Wind", and "Autumn Leaves". 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

One of the greatest 60s recordings from the Wyton Kelly Trio – thanks to some wonderful guest work from guitarist Wes Montgomery! Montgomery's working here in a gusty, rootsy style that recalls his best soul jazz sides from the earlier years – and which have a feel that's quite different than his later, more largely-arranged work for Verve. The Kelly Trio is in perfect form – with Wynton's heavy left hand leading the group on the piano, and superb rhythm backing from the team of Paul Chambers and Jimmy Cobb. Tracks are longish, with some nice solos – and include the 13 minute original "No Blues", plus "If You Could See Me Now", "Unit 7", "Four On Six" and "What's New". LP, Vinyl record album

One of the greatest 60s recordings from the Wyton Kelly Trio – thanks to some wonderful guest work from guitarist Wes Montgomery! Montgomery's working here in a gusty, rootsy style that recalls his best soul jazz sides from the earlier years – and which have a feel that's quite different than his later, more largely-arranged work for Verve. The Kelly Trio is in perfect form – with Wynton's heavy left hand leading the group on the piano, and superb rhythm backing from the team of Paul Chambers and Jimmy Cobb. Tracks are longish, with some nice solos – and include the 13 minute original "No Blues", plus "If You Could See Me Now", "Unit 7", "Four On Six" and "What's New". LP, Vinyl record album

One of the greatest 60s recordings from the Wyton Kelly Trio – thanks to some wonderful guest work from guitarist Wes Montgomery! Montgomery's working here in a gusty, rootsy style that recalls his best soul jazz sides from the earlier years – and which have a feel that's quite different than his later, more largely-arranged work for Verve. The Kelly Trio is in perfect form – with Wynton's heavy left hand leading the group on the piano, and superb rhythm backing from the team of Paul Chambers and Jimmy Cobb. Tracks are longish, with some nice solos – and include the 13 minute original "No Blues", plus "If You Could See Me Now", "Unit 7", "Four On Six" and "What's New". CD

Not one of the original Vee Jay albums recorded by pianist Wynton Kelly – but a really sweet set that has him stretching out in a live setting recorded by Baltimore's Left Bank Jazz Society in 1968! Wynton's trio – with Ron McClure on bass and Jimmy Cobb on drums – is joined by the great George Coleman on tenor, who really gets a great opportunity to stretch out on the album's long tracks. The 2CD set features all of the concert, with some tracks that run upwards of 20 minutes, and which show that Coleman had a richly inventive solo talent at this point. Titles include "Unit 7", "On The Trail", "Mr PC", and "On A Clear Day". CD

Additional material and unreleased from one of the greatest 60s recordings from the Wynton Kelly Trio – thanks to some wonderful guest work from guitarist Wes Montgomery! Montgomery's working here in a gusty, rootsy style that recalls his best soul jazz sides from the earlier years – and which have a feel that's quite different than his later, more largely-arranged work for Verve. The Kelly Trio is in perfect form – with Wynton's heavy left hand leading the group on the piano, and superb rhythm backing from the team of Paul Chambers and Jimmy Cobb. This massive set marks the first official release of all these tracks that were recorded at the time, but not on the original Verve album Smokin At The Half Note – with work from Larry Ridley on bass on a number of tracks, and titles that include very long versions of "The Song Is You", "Star Eyes", "Four On Six", and "Cherokee" – plus takes on "Cariba", "Blues", "Laura", "Impressions", "Mi Cosa", "No Blues", and "All The Things You Are". CD

Additional material and unreleased from one of the greatest 60s recordings from the Wynton Kelly Trio – thanks to some wonderful guest work from guitarist Wes Montgomery! Montgomery's working here in a gusty, rootsy style that recalls his best soul jazz sides from the earlier years – and which have a feel that's quite different than his later, more largely-arranged work for Verve. The Kelly Trio is in perfect form – with Wynton's heavy left hand leading the group on the piano, and superb rhythm backing from the team of Paul Chambers and Jimmy Cobb. This massive set marks the first official release of all these tracks that were recorded at the time, but not on the original Verve album Smokin At The Half Note – with work from Larry Ridley on bass on a number of tracks, and titles that include very long versions of "The Song Is You", "Star Eyes", "Four On Six", and "Cherokee" – plus takes on "Cariba", "Blues", "Laura", "Impressions", "Mi Cosa", "No Blues", and "All The Things You Are". LP, Vinyl record album

Fantastic work by the great Lorez Alexandria – a 2-in-1 CD that brings together both of her rare albums for the Impulse label! Lorez The Great was recorded after Lorez cut some great sides for the Argo label in the early 60s – and it works off the strength of those sides, taking her unique vocal approach, forged in R&B, but smoothed by jazz, into a whole new level of expression. The backing's by musicians like Bud Shank, Wynton Kelly, Victor Feldman, and Paul Horn, and the arrangements are nice and moody, and are a perfect accompaniment to Lorez' beautiful voice. Includes the cuts "Get Me To The Church On Time", "Satin Doll", "Show Me", "The Best Is Yet to Come", "I'm Through With Love" and 5 others. More Of The Great has Lorez in a perfect setting – with sophisticated backing that really lets her take charge, and direct the songs tightly with her incredibly soulful voice. The set's a wonderful blend of jazz and soul styles, with bits of bossa running through the mix – and vocals that are handled in that lightly groovy style that's always made Lorez so great! The album features a great bossa rendition of "O Barquinho", plus the cuts "Dancing On The Ceiling", "Once", "Angel Eyes", "No More", and "That Far Away Look". CD

A beautiful album by one of our favorite jazz singers! Lorez Alexandria is in a perfect setting here – singing with subtly sophisticated backings that really let her take charge, and direct the songs tightly with her incredibly soulful vocals! Instrumentation is mostly in a small combo mode – with the Wynton Kelly trio at the core, augmented by a bit of guitar from Ray Crawford, and some alto sax from Paul Horn – and although the album's got an easygoing feel, it also keenly shows the tightness that's always made Lorez so great! Styles are a blend of soul and jazz, plus just a hint of bossa, heard beautifully on the album's rendition of "O Barquinho". Other tracks include "This Could Be The Start Of Something Big", "Dancing On The Ceiling", "Once", "Angel Eyes", "No More", and "That Far Away Look". LP, Vinyl record album

One of the few sessions ever recorded by tenor player Walter Benton – a great talent with a very strong voice, coming out of a gutsier 50s era, and growing into a capable hardbop player by the time of this set. The album's got Benton playing in a quintet that features Freddie Hubbard on trumpet, Wynton Kelly on piano, Paul Chambers on bass, and either Jimmy Cobb or Albert Heath on drums – and although the group's clearly not Benton's working unit, the overall sound of the record is quite strong, with very capable rhythm playing, and some nicely arcing solos with spirit and surprising touches. Titles include "Iris", "Night Movement", "A Blues Mood", "Azil", and "Walter's Altar". CD

One of the few sessions ever recorded by tenor player Walter Benton – a great talent with a very strong voice, coming out of a gutsier 50s era, and growing into a capable hardbop player by the time of this set. The album's got Benton playing in a quintet that features Freddie Hubbard on trumpet, Wynton Kelly on piano, Paul Chambers on bass, and either Jimmy Cobb or Albert Heath on drums – and although the group's clearly not Benton's working unit, the overall sound of the record is quite strong, with very capable rhythm playing, and some nicely arcing solos with spirit and surprising touches. Titles include "Iris", "Night Movement", "A Blues Mood", "Azil", and "Walter's Altar". LP, Vinyl record album

A reissue of one of Blakey's best non-Blue Note sides from the late 50s, a killer album that sports a great lineup of the Jazz Messengers that included Jackie McLean, Johnny Griffin, Bill Hardman, Sam Dockery and Spanky DeBrest. The three of them sparkle and shine with the sort of brilliance that Blakey's leadership brings to the group, and they wail their way through a 13 minute long reading of "Night In Tunisia", with excellent solos all around, and the other cuts "Theory Of Art", "Couldn't It Be You?", "Evans", and "Off The Wall". This reissue adds the bonus number "Social Call" recorded for RCA at very nearly the same time, but with a larger group that features Wynton Kelly in place of Sam Dockery, plus the addition of Lee Morgan, Sahib Shihab, Melba Liston and Cecil Payne in the horn section. CD

A reissue of one of Blakey's best non-Blue Note sides from the late 50s, a killer album that sports a great lineup of the Jazz Messengers that included Jackie McLean, Johnny Griffin, Bill Hardman, Sam Dockery and Spanky DeBrest. The three of them sparkle and shine with the sort of brilliance that Blakey's leadership brings to the group, and they wail their way through a 13 minute long reading of "Night In Tunisia", with excellent solos all around, and the other cuts "Theory Of Art", "Couldn't It Be You?", "Evans", and "Off The Wall". This reissue adds the bonus numbers "Social Call" and "A Night At Tony's" recorded for RCA at very nearly the same time, but with a larger group that features Wynton Kelly in place of Sam Dockery, plus the addition of Lee Morgan, Sahib Shihab, Melba Liston and Cecil Payne in the horn section. CD

A reissue of one of Blakey's best non-Blue Note sides from the late 50s, a killer album that sports a great lineup of the Jazz Messengers that included Jackie McLean, Johnny Griffin, Bill Hardman, Sam Dockery and Spanky DeBrest. The three of them sparkle and shine with the sort of brilliance that Blakey's leadership brings to the group, and they wail their way through a 13 minute long reading of "Night In Tunisia", with excellent solos all around, and the other cuts "Theory Of Art", "Couldn't It Be You?", "Evans", and "Off The Wall". This reissue adds the bonus number "Social Call" recorded for RCA at very nearly the same time, but with a larger group that features Wynton Kelly in place of Sam Dockery, plus the addition of Lee Morgan, Sahib Shihab, Melba Liston and Cecil Payne in the horn section. LP, Vinyl record album

Kenny Burrell on guitar with Gene Ammins, Ray Brown, Donald Bgyrd, Paul Chambers, John Coltrane, Bill Evans, Art Farmer, Tommy Flanagan, Coleman Hawkins, Joe Henderson, Philly Joe Jones, Wynton Kelly, Jackie McLean, Jimmy Smith, Arthur Taylor, Stanley Turrentine, Mal Waldron, Cedar Walton, and others. CD

Donald's off to the races on this one – grooving with a lean, mean sound that makes the record one of his hardest-hitting and most soulful blue note sessions of the 50s! The group features Byrd's frequent bandmate Pepper Adams on baritone sax – blowing always with a style that's a wonderful counterpoint to Byrd's trumpet work – and the rest of the group features Blue Note heavyweights Jackie McLean, Wynton Kelly, Sam Jones, and Art Taylor – the latter two of whom really make the set bristle with excitement! The set includes some great originals, like "Down Tempo", "Sudwest Funk", and "Off To The Races" – plus a nice version of Sonny Rollins' "Paul's Pal". CD

Donald's off to the races on this one – grooving with a lean, mean sound that makes the record one of his hardest-hitting and most soulful blue note sessions of the 50s! The group features Byrd's frequent bandmate Pepper Adams on baritone sax – blowing always with a style that's a wonderful counterpoint to Byrd's trumpet work – and the rest of the group features Blue Note heavyweights Jackie McLean, Wynton Kelly, Sam Jones, and Art Taylor – the latter two of whom really make the set bristle with excitement! The set includes some great originals, like "Down Tempo", "Sudwest Funk", and "Off To The Races" – plus a nice version of Sonny Rollins' "Paul's Pal". LP, Vinyl record album

Donald's off to the races on this one – grooving with a lean, mean sound that makes the record one of his hardest-hitting and most soulful blue note sessions of the 50s! The group features Byrd's frequent bandmate Pepper Adams on baritone sax – blowing always with a style that's a wonderful counterpoint to Byrd's trumpet work – and the rest of the group features Blue Note heavyweights Jackie McLean, Wynton Kelly, Sam Jones, and Art Taylor – the latter two of whom really make the set bristle with excitement! The set includes some great originals, like "Down Tempo", "Sudwest Funk", and "Off To The Races" – plus a nice version of Sonny Rollins' "Paul's Pal". CD

The second of two early LPs that the Byrd and Gryce team cut for Columbia – and the more obscure of the two by far! This one features the group's groundbreaking format – a mixture of hardbop and modern jazz, always swinging, but angularly carved, with striking tones and colors that recall the best mid 50s Mingus. The difference, though, is that 4 tracks also feature some vocals by Jackie Paris, a hip singer who's at his best here – vocalizing with way better material than he often got on his own albums, singing on the tracks "Now Don't You Know", "Elgy", "Early Byrd", and "Early Morning Blues". The rest of the group features Wynton Kelly, Art Taylor, and Wendell Marshall – but more than anything else, it's Gryce's unbelievable tone on alto that really makes the record cook. Why couldn't he have played like this forever? We love it to death! Other tracks include "Satellite", "Social Call", and "Steppin Out". LP, Vinyl record album

A rare non-Blue Note date as a leader from bassist Paul Chambers – and one of his hardest cooking dates in the studio! The session breaks out a bit from some of Chambers' more concept-based work of the time – and has him opening up strongly with an all-star group that includes Cannonball Adderley on alto sax, Freddie Hubbard on trumpet, Wynton Kelly on piano, and Philly Joe Jones on drums. The setting's a bit loose, almost a blowing session – and Chambers holds it together perfectly, almost acting as more of a sideman on the session, and letting the bigger-name soloists get plenty of space to do their thing! One of the all-time Vee Jay jazz classics – with titles that include "Just Friends", "I Got Rhythm", "Ease It", "Awful Mean", and "Julie Ann". The CD's a 2CD set – and includes the original album; tracks that were recorded at the same time, but not issued on the album; and a full set of alternate takes! CD

Texas tenors locked in hard formation! The set's a wonderfully stripped-down set that has James Clay and David Fathead Newman playing head-to-head in a rootsy Texas tenor style jazz session – one that's a bit more open-ended and earthy than some of the faker tones on Newman's early work for Atlantic! The setting is nicely relaxed – New York blowing session, taken down south – and rhythm is from a trio that includes Wynton Kelly on piano, Sam Jones on bass, and Art Taylor on drums. Tracks are long, with lots of focus on the solos – and the set includes two hip compositions by Babs Gonzales – "Wide Open Spaces" and "Figger-ation" – plus the titles "Some Kinda Mean", "What's New", and "They Can't Take That Away From Me". CD

The title may be a simple one, but the record really marks a key point in John Coltrane's development – an embrace of the newer freedoms allowed to him at Atlantic Records, but in a way that's a bit more subtle than some of his other work for the label! At one level, the record moves at the same groove as Trane's later Prestige years – with rhythm mostly from Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – carving out some sharp lines for Coltrane to cascade over on tenor sax. Yet there's also a new sense of darkness here too – one that moves into edgier territory, and which isn't nearly as settled in as before. These qualities sneak out of both original numbers like "Harmonique", "Fifth House", and "Like Sonny" – as well as standards like "My Shining Hour" and "Little Old Lady". And they really come to the forefront on the classic "Village Blues" – the one track that features the new Coltrane group of McCoy Tyner, Steve Davis, and Elvin Jones! CD features 2 bonus alternate takes too! CD

The title may be a simple one, but the record really marks a key point in John Coltrane's development – an embrace of the newer freedoms allowed to him at Atlantic Records, but in a way that's a bit more subtle than some of his other work for the label! At one level, the record moves at the same groove as Trane's later Prestige years – with rhythm mostly from Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – carving out some sharp lines for Coltrane to cascade over on tenor sax. Yet there's also a new sense of darkness here too – one that moves into edgier territory, and which isn't nearly as settled in as before. These qualities sneak out of both original numbers like "Harmonique", "Fifth House", and "Like Sonny" – as well as standards like "My Shining Hour" and "Little Old Lady". And they really come to the forefront on the classic "Village Blues" – the one track that features the new Coltrane group of McCoy Tyner, Steve Davis, and Elvin Jones! LP, Vinyl record album

The title may be a simple one, but the record really marks a key point in John Coltrane's development – an embrace of the newer freedoms allowed to him at Atlantic Records, but in a way that's a bit more subtle than some of his other work for the label! At one level, the record moves at the same groove as Trane's later Prestige years – with rhythm mostly from Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – carving out some sharp lines for Coltrane to cascade over on tenor sax. Yet there's also a new sense of darkness here too – one that moves into edgier territory, and which isn't nearly as settled in as before. These qualities sneak out of both original numbers like "Harmonique", "Fifth House", and "Like Sonny" – as well as standards like "My Shining Hour" and "Little Old Lady". And they really come to the forefront on the classic "Village Blues" – the one track that features the new Coltrane group of McCoy Tyner, Steve Davis, and Elvin Jones! CD features 4 more bonus alternate takes too! CD

A true giant step for John Coltrane – and one of the first albums to really showcase his talent as a writer – and his amazing ability for penning some of the most soulful, spiritual themes in jazz! Apart from the well-known title cut, the record's filled with other Coltrane classics – key early readings of "Naima", "Cousin Mary", "Mr PC", "Spiral", and "Syeeda's Song Flute" – all showing a new sense of timing, phrasing, and pacing in jazz – one that would go on to have a huge impact on players in the 70s generation! The group here is relatively straight – Tommy Flanagan or Wynton Kelly on piano, Paul Chambers on bass, and Art Taylor on drums – but the players have never sounded better, and really match Coltrane's sense of power and imagination on these legendary tracks! LP, Vinyl record album

A true giant step for John Coltrane – and one of the first albums to really showcase his talent as a writer – and his amazing ability for penning some of the most soulful, spiritual themes in jazz! Apart from the well-known title cut, the record's filled with other Coltrane classics – key early readings of "Naima", "Cousin Mary", "Mr PC", "Spiral", and "Syeeda's Song Flute" – all showing a new sense of timing, phrasing, and pacing in jazz – one that would go on to have a huge impact on players in the 70s generation! The group here is relatively straight – Tommy Flanagan or Wynton Kelly on piano, Paul Chambers on bass, and Art Taylor on drums – but the players have never sounded better, and really match Coltrane's sense of power and imagination on these legendary tracks! LP, Vinyl record album

A true giant step for John Coltrane – and one of the first albums to really showcase his talent as a writer – and his amazing ability for penning some of the most soulful, spiritual themes in jazz! Apart from the well-known title cut, the record's filled with other Coltrane classics – key early readings of "Naima", "Cousin Mary", "Mr PC", "Spiral", and "Syeeda's Song Flute" – all showing a new sense of timing, phrasing, and pacing in jazz – one that would go on to have a huge impact on players in the 70s generation! The group here is relatively straight – Tommy Flanagan or Wynton Kelly on piano, Paul Chambers on bass, and Art Taylor on drums – but the players have never sounded better, and really match Coltrane's sense of power and imagination on these legendary tracks! Great 2CD version – with a completely new mastering of the record, bonus notes, and a full set of unreleased outtakes and alternates – including "Naima (alt)", "Like Sonny (alt)", "Count Down (alt)", "Syeeda's Song Flute (alt)", "Giant Steps (incomplete alt take 1)", and two more takes of "Giant Steps". CD

A true giant step for John Coltrane – and one of the first albums to really showcase his talent as a writer – and his amazing ability for penning some of the most soulful, spiritual themes in jazz! Apart from the well-known title cut, the record's filled with other Coltrane classics – key early readings of "Naima", "Cousin Mary", "Mr PC", "Spiral", and "Syeeda's Song Flute" – all showing a new sense of timing, phrasing, and pacing in jazz – one that would go on to have a huge impact on players in the 70s generation! The group here is relatively straight – Tommy Flanagan or Wynton Kelly on piano, Paul Chambers on bass, and Art Taylor on drums – but the players have never sounded better, and really match Coltrane's sense of power and imagination on these legendary tracks! CD features a wealth of bonus tracks – 5 additional alternate takes! CD

A true giant step for John Coltrane – and one of the first albums to really showcase his talent as a writer – and his amazing ability for penning some of the most soulful, spiritual themes in jazz! Apart from the well-known title cut, the record's filled with other Coltrane classics – key early readings of "Naima", "Cousin Mary", "Mr PC", "Spiral", and "Syeeda's Song Flute" – all showing a new sense of timing, phrasing, and pacing in jazz – one that would go on to have a huge impact on players in the 70s generation! The group here is relatively straight – Tommy Flanagan or Wynton Kelly on piano, Paul Chambers on bass, and Art Taylor on drums – but the players have never sounded better, and really match Coltrane's sense of power and imagination on these legendary tracks! CD features a wealth of bonus tracks – 5 more additional alternate takes! CD

Early 60s material, compiled here in a well-annotated package from the mid 80s. Players include Hank Mobley, George Coleman, Victor Feldman, Wynton Kelly, and orchestral backings from Gil Evans. Titles include "Song #2", "Baby Won't You Please Come Home", "Wait Till You See Her", "Corcovado", and "I Fall In Love Too Easily". 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". 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

With Red Garland, Bill Evans and Wynton Kelly on piano. 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

A fantastic presentation of legendary live material from the team of Miles Davis and John Coltrane – taken from the last concert tour the pair ever did together, and presented here with beautifully stunning sound! The European dates in 1960 were all part of a larger Jazz At The Philharmonic tour – which meant that Norman Granz was on hand to do a great job of capturing the material, which is then given extra-special treatment here for the reissue! Some of these sides have been issued on dodgy overseas collections over the years, but this is the first time all this material has been presented together, and so well – a tremendous illustration of the long solo genius of both Davis and Coltrane, with support from Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. All tracks are very long – and the set features 8 tracks from the Paris concert on March 21, 5 tracks from the Copenhagen concert on March 24, and 9 from the Stockholm concert on March 22. There's also an interview with Coltrane, conducted during the tour – and titles include "Round Midnight", "On Green Dolphin Street", "All Of You", "So What", "Fran Dance", "Walkin", "All Blues", "Bye Bye Blackbird", and "Oleo". CD

Essential material pulled from a legendary set of shows in Stockholm from 1960. The group features Miles and Coltrane alongside Wynton Kelly, Paul Chambers, and Jimmy Cobb. Most of the tracks are nice and long and include "So What", "On Green Dolphin Street", "All Blues Theme", and "Walkin" – plus a short 2-part interview with Coltrane. CD

Miles Davis on trumpet, John Coltrane on saxophone, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. CD

Fantastic double album set of a stunning live performance by Trane and Miles, recorded in Sweden in 1960. The tracks are all long, with backing by the rhythm section of Wynton Kelly, Paul Chambers, and Jimmy Cobb. Highlights include "Green Dolphin Street", "Fran-Dance", and the 2 versions of "So What". Even if you've got most of the studio recordings with Miles and Trane, this session's a key addition to any collection of their work, and features stunning performances that are strikingly different from their studio work of the time. LP, Vinyl record album

Live recordings from the 1960 European tour. Group features Miles Davis on trumpet, John Coltrane on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. CD

Miles Davis on trumpet, John Coltrane on tenor saxophone, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. CD

The complete recordings of a legendary live cycle of shows in Stockholm from 1960 – material that was previously issued on two different 2LP sets during the album era, now brought together here with bonus tracks too! The first third of the set features incredible work from the team of Miles Davis and John Coltrane – working together in space that's very open, and far more exploratory than their studio work of the late 50s – maybe at a level that really shows the impact that Coltrane's growth was having on the solo approach of Davis! The key rhythm trio keeps things swinging – Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – which almost seems to allow the horn players even more freedom. The second two thirds of the set are equally striking, but in a very different way – as they feature the great Sonny Stitt, blowing both alto and tenor with Miles' group – a choice that's maybe a bit surprising, but equally wonderful too – a Stitt brings the sound maybe back to a bop core, but also seems to really get a chance to show off some of those modern currents that he had to soft-pedal on his albums for Roost. Titles with Coltrane include "So What", "On Green Dolphin Street", "All Blues/Theme", "Walkin/Theme", and "Fran Dance" – and titles with Stitt include "Autumn Leaves/Theme", "Walkin", "All Of You", "June Night", "Stardust", "Lover Man", "If I Were A Bell", "No Blues/Theme", "Softly As In A Mornin Sunrise", and "So What". CD

Rare work from a sometimes-overlooked chapter in the career of Miles Davis – a time when Sonny Stitt was briefly filling the tenor sax role that was more famously held by John Coltrane and Wayne Shorter! Stitt in any group is always a treat – and here, working with Miles, he turns in some of his most far-reaching solos of the period – very different than the shorter, more economical work of his studio albums – and even different than some of his longer-form material on Prestige to come! Stitt really rises to meet Miles in spirit – maybe in part because of the rest of the group features the famous rhythm trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – moving hard and with a great sense of modal energy, on titles that include "Four", "All Of You", "No Blues", "Two Bass Hit", "Walkin", "Autumn Leaves", "So What", "If I Were A Bell", and "Round Midnight". LP, Vinyl record album

A slightly misleading record – but a great one nonetheless! From the title and cover, you might imagine that Thelonious Monk and Miles Davis were sharing the stage together at the Newport Jazz Festival – but instead, the album actually features separate performances by each artist – actually even recorded 5 years apart! The Miles Davis recording is from 1958 – a great year that has John Coltrane working with the group, alongside Wynton Kelly on piano, Cannonball Adderley on alto, Paul Chambers on bass, and Jimmy Cobb on drums – performing lively versions of "Ah Leu Cha", "Straight No Chaser", "Fran Dance" and "Two Bass Hit". The Monk material is even more unique – recorded in 1963, with Monk's usual quartet of Charlie Rouse on tenor, Butch Warren on bass, and Frankie Dunlop on drums – joined by the legendary Pee Wee Russell on clarinet – recently revived in jazz at the time, and displaying surprisingly modernist tendencies! Both Monk tracks are long – and include versions of "Nutty" and "Blue Monk". CD

A nice little collection of some of Dizzy Gillespie's best bop material for Savoy – tunes that were originally recorded as 78rpm singles – then issued together on this classic album of all-star players! The tunes are short, catchy, and often very grooving – that mix of whimsy and modernism that made Dizzy stand out from the start – handled by a few different groups of players, with musicians who include Milt Jackson on vibes, John Coltrane on tenor, Wynton Kelly on piano, and Percy Heath on bass. Titles include "Tin Tin Deo", "Star Dust", "The Bluest Blues", "The Champ", "Birk's Works", "Caravan", "Time On My Hands", and "Ooh Shoo Be Doo Bee". CD

Dizzy Gillespie on trumpet and vocals, Jimmy Powell and Phil Woods on alto saxophone, Billy Root and Marty Flax on baritone saxophone, Nelson Boyd and Paul West on bass, Rod Levitt on bass trombone, Charlie Persip on drums, Walter Davis Jr and Wynton Kelly on piano, Benny Golson, Billy Mitchell, and Ernie Wilkins on tenor saxophone, Al Grey, Frank Rehak, and Melba Liston on trombone, and Ermet Perry, Joe Gordon, Lee Morgan, and Quincy Jones on trumpet. CD

An excellent live set – featuring great work by some of Dizzy's best sidemen of the late 50's! The ensemble is razor sharp, in that hip post-bop way that Dizzy was developing in the 50s, before moving into his Latin groove years of the early 60s. Benny Golson, Billy Mitchell, and Wynton Kelly all get a chance to solo nicely, and the tracks include renditions of "Manteca", "Dizzy's Blues", "Cool Breeze", and "Doodlin". Features three long bonus tracks too! CD