An excellent group! Features Kenny Barron on piano, Gary Bartz on soprano and alto, Ben Riley on drums, and Buster Williams on bass. CD

Count Basie plays the piano and Joe Williams sings in his bluesy way and they are backed by a slew of musicians who include Thad Jones on trumpet, Ben Powell on trombone, Frank Foster on tenor saxophone, Sonny Payne on drums and many, many others. Frank Foster did all of the arrangements and the tracks include Williams' "My Baby Upsets Me", "Ev'ry Day", and "Please Send Me Someone To Love". CD

A landmark album – and one of the best records you'll ever find by Mary Lou Williams! The record's a mixture of jazz and spiritual themes, and it features Mary Lou's piano set in some super-hip jazz arrangements that include players like Grant Green, Budd Johnson, Larry Gales, Melba Liston, Ben Tucker, and Percy Heath. The bass and piano work is amazing, and many tracks have a dark groove that's very subtle, but very compelling. About half the tunes feature hip choral vocalizing – in the mode of some of the Donald Byrd or Max Roach albums from the same time – mostly handled by the group of Howard Roberts. Includes the classic groover "A Grand Nite For Swinging", plus "A Fungus Amongus", "Anima Christi", "Miss DD", "The Devil", "It Ain't Necessarily So", and "My Blue Heaven". Great stuff all around – and even better than we're describing it! This CD issue features the original Mary Records cover art – different than the Saba/MPS or later Smithsonian CD versions. CD

A real change for the sound of Tony Williams Lifetime group – but a great one too, as the album's a lot more soulful than some of the group's other albums! There's been a real shift in the lineup here – with keyboardist Webster Lewis taking the place of Larry Young – and bringing in a warmer, more soul-based style – one that fits nicely with the expanded vocal styles of the album. The lovely Tequila Williams makes her debut alongside Tony on some of the album's lyrics, and production of the set is handled by Ben Sidran – in the same sort of mix of jazz and hip rock-era vocals that you'd find in his own work from the time. And best of all, the album's strongest tracks have a mix of modal grooves and funky undercurrents that really stand out – using some great jazzy changes to make for a really fresh set! Titles include "Mystic Knights Of The Sea", "You Make It Easy", "What It's About", and "The Boodang". LP, Vinyl record album

One of the hippest projects we've heard from drummer Ben Riley in awhile – a big band project devoted to the music of Thelonious Monk, and one that gets most of its angular changes from the saxophone section! There's a great post-Monk quality to this one that makes it way more than just a copycat of the old days – a re-interpolation of the music and inspirations of Monk for a slightly different jazz idiom, presented with 4 saxophones, 1 trumpet, guitar, bass, and drums – and no piano at all! Riley's on drums, and saxophones include Bruce Williams on alto and soprano, Wayne Escoffery and Jimmy Greene on tenor, and Jay Brandford on baritone – working alongside guitar from Freddie Bryant, bass from either Kiyashi Kitagawa or Peter Washington, and trumpet from Don Sickler, who sometimes blasts out in the lead. Titles include "Gallop's Gallop", "Green Chimneys", "Shuffle Boil", "Straight No Chaser", "Rhythm-A-Ning", and "Let's Call This". CD

A rare Japanese album from bassist Buster Williams – featuring Kenny Barron on piano and Ben Riley on drums! The set includes some great original compositions – "Fuego" and Tokudo" – plus standards "Someday My Prince Will Come" and "This Is The End Of A Beautiful Friendship". CD

Includes performances with Andy Kirk & His Twelve Clouds Of Joy, Booker Collins, Ben Thigpen, Coleman Hawkins, Don Byas, Benny Goodman, Wardell Gray, Mary Osborne, George Duvivier, Denzil Best, Tony Kinsey, and Allan Ganley. CD

A nice collection of Gene Ammons' work that doesn't always get as well remembered as his sides for Prestige or Chess – a 1947 bop session for Savoy with Howard McGhee on trumpet, Leo Parker on baritone, Junior Mance on piano, Gene Wright on bass, and Chuck Williams on drums; and early 50s sesssions with Johnny Coles on trumpet, Lino Murray on trombone, Mack Easton on tenor and baritone, John Houston on piano, Ben Stuberville on bass, and George Brown on drums; done in a wonderfully full-voiced tone! The set features Gene's classic "Red Top", plus the great two part "Big Slam", and the titles "Chips", "Goodtime Blues", "Fuzzy", "Jim Dawgs", and "Street Of Dreams". LP, Vinyl record album

Includes 66 tracks on 3 CDs. Notable sidemen include Wallace Jones and Cootie Williams on trumpet, Rex Stewart on cornet, Tricky Sam Nanton and Lawrence Brown on trombone, Johnny Hodges on alto and soprano sax, Ben Webster on tenor sax, Fred Guy on guitar, Jimmy Blanton on bass, and Sonny Greer on drums. CD

Notable sidemen include Ben Webster, Jimmy Blanton, Ivie Anderson, Rex Stewart, Johnny Hodges, Barney Bigard, Cootie Williams, and Tricky Sam. CD

The title's a bit obtuse, but the music is warm and soulful throughout – a really tremendous session that carries on the strong legacy of solo work that Jimmy Heath was doing in the 70s! The feel here is a lot like some of Heath's dates for the Muse or Xanadu labels – and Jimmy's working here with a great rhythm section that includes Larry Willis on piano, Stafford James on bass, and Akira Tana on drums – players who provide a very soulful grounding for the set. Heath blows alto, tenor, and soprano sax – and remaining players include Tom Williams on trumpet and Tony Purrone on guitar. The groove is in a classic Prestige/Riverside mode – not hard hardbop, but soulful, with touches of post-Coltrane blowing, and the mix of lyricism and soul jazz that Heath's always brought to his best work. Titles include "Trane Connections", "Forever Sonny", "You Can See", "I Waited For You", and "Song For Ben Webster". LP, Vinyl record album

A selection of tracks from Illinois Jacquet's late 60s albums for Prestige, featuring Milt Buckner, Barry Harris, and Wynton Kelly on piano, Alan Dawson, Al Foster, Jo Jones, and Oliver Jackson on drums, Frank Foster on tenor, Matthew Gee on trombone, Tiny Grimes, Billy Butler, and Wally Richardson on guitar, Montego Joe on congas, Joe Newman and Ernie Royal on trumpet, and Ben Tucker and Buster Williams on bass. LP, Vinyl record album

Makaya McCraven pushes his unique jazz genius even further – by serving up a completely groundbreaking remix of live jazz performance on the London scene! McCraven's already stood out from the pack in the way that he breaks down jazz norms by playing with a recorded performance later in the studio – but this time around, he really pushes that approach to the forefront – working in a mode that really lives up to the "mixtape" of the title – but which also still has everything that we love from his other records too! Makaya's on drums – and plays with a massively heavy groove – and he plays here with some of the leading lights of the contemporary London scene – Soweto Kinch and Nubya Garcia on saxes, Joe Armon Jones on Fender Rhodes, Kamaal Williams on keyboards, and Theon Cross on tuba – in amazing performance activity which is then brought home to Chicago, where the music gets additional remix and overdub help from LeFto, Don Leisure, Earl Jeffers, Ben LaMar Gay, Emma Jean Thackray, Quiet Dawn, and Lexus Blondin. Clearly, Makaya's one hell of a collaborative spirit – yet he also manages to make this record his boldest personal statement to date – as you'll hear on titles that include "Halls", "Suite For Artis Gilmore", "Ox Tales", "The Bounce", "Oracle", "Run Dem", "Too Shy", and "Drums & Bruk & Feel The Vibe". LP, Vinyl record album

A fantastic trio set from pianist Takeshi Obayashi – a player you might know from work with Jose James and Takuya Kuroda, but one who really steps out here strongly in a trio setting! Part of the record's strength is the rhythm help – as Ben Williams plays bass and Nate Smith plays drums – both musicians who have a round, chunky sort of groove that works perfectly with Obayashi's piano as he spins out strongly soulful tunes that offer up a vision of jazz piano trio energy in the post-Robert Glasper world! All players contribute equally to the sound – and Williams is especially great – on titles that include "Konbini Confessions", "Black Label", "The Big News", "Ngroove", "Beyond Affinity", and "Bop Boom". CD

A great one from this excellent 80s quartet – with Charlie Rouse on tenor, Kenny Barron on piano, Buster Williams on bass, and Ben Riley on drums! CD

Excellent small group work from Sadao Watanabe – easily one of the best Japanese reed players of the past 50 years – still sounding great here on a recent acoustic session! Watanabe plays alto throughout – a definite preferred horn of late – and stretches out in these expressive solos in the company of Gerald Clayton on piano, Ben Williams on bass, and Jonathan Blake on drums – a combo who step out with lots of warm sympathy on a set of tracks that's all original material by Watanabe! Sadao's tunes have a feel that's quite poetic, yet still also swinging too – a balance carried out in a wonderfully subtle way on tunes that include "I Miss You When I Think Of You", "Gemmation", "Vamos Juntos", "Simpatico", and "Warm Days Ahead". CD

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

Features Pat Metheny on guitars, Chris Potter on reeds, Ben Williams on acoustic bass, and Antonio Sanchez on drums. CD

A record that's every bit as cool as its cover – and one of the strongest Blue Note sessions from Hammond organ legend Big John Patton! The tracks are long, and have a great loping rhythm – a groove that Patton creates by using the bass pedals alongside the drums of Ben Dixon – a player who really helps John break past more familiar Hammond modes – and helps establish that unique sound that really made the organist one of the strongest 60s players on his instrument! The rest of the combo is fantastic too – with Fred Jackson on tenor, Grant Green on guitar, Richard Williams on trumpet – the last of whom is a real surprise, if you only know his work with Charles Mingus. The tracks are nice and long, and have a good balance between soulful roots and more modern intentions – on titles that include "Just 3/4", "The Way I Feel", "Jerry", "The Rock", and "Davene". LP, Vinyl record album

Sweet electric keys from Kenny Barron – one of those few excellent 70s albums that have the pianist hitting some Fender Rhodes! The record has Kenny playing electric on most of the set – in a mode that's as open, and spiritual as his best work for the Muse label – maybe even better, as the tracks have a freer style, and really open up with a beautiful sense of energy! The other players here really make the record special, too – and include Sonny Fortune on alto sax, Jimmy Owens on trumpet, Buster Williams on bass, Ben Riley on drums, and Billy Hart on percussion – a lineup that really gives the whole thing a level that's right up there with classics on the Black Jazz or Strata East label. As always with the electric piano, Kenny hits some wonderful notes, colors, and tones that make us wish he used the instrument all the time – on titles that include "Sunshower", "Innocence", "Bacchanal", and "Nothing To Fear". LP, Vinyl record album

A sublime blending of modes – the sound of the excellent Count Basie band during their Roulette Records years, mixed with a bit of strings for a very moody sound! Don't worry about any too-commercial or pop modes going on here – as the arrangements are all super hip, and handled by talents like Quincy Jones and George Williams – who keep things in this dark-tinged style that's just perfect for the key talents in the Basie group, as the album features standout solos on almost every number – including a bit of tenor from guest Ben Webster! Titles include "Song Of The Islands", "Stringing The Blues", "The One I Love", "Blues Bittersweet", "She's Funny That Way", and "Summertime". LP, Vinyl record album

A side's worth of material from each of the band leaders with their orchestra! Benny Carter tracks feature sidemen that include Bumps Myers, Thelonious Monk, Max Roach, JJ Johnson, and Idrees Sulieman; and Cootie Williams tracks feature Bob Horton, Eddie Vinson, and Sam Taylor. LP, Vinyl record album

Three full albums from this tremendous singer – all in a single set! Morning In Paris is very early work from South African singer Sathima Bea Benjamin – recorded in Paris in 1963, with backing by longtime partner Abdullah Ibrahim, plus additional piano and production by Duke Ellington! The album was cut around the same time as Ibrahim (Dollar Brand) did his famous Reprise album in Paris with Ellington – and it's got a similar mix of modern and moody styles – with Sathima singing in a mellower tone than we're used to from her later records, over extremely spare backing that often has the piano barely stepping in, and which also features some nice plucked violin work from Svend Asmussen – acting almost as the bass on a few tracks! Billy Strayhorn also sits in on this extremely unusual session – and titles include "The Man I Love", "Soon", "Lover Man", "I Should Care", "I Could Write A Book", and "Darn That Dream". Lovelight is always-great work from Sathima Bea Benjamin – one of the hippest jazz vocalists of the 80s, working here in a highly spiritual mode that sounds a lot more like records from many years past! There's a warmly gentle glow to the whole set – thanks to instrumentation from Larry Willis on piano, Buster Williams on bass, Billy Higgins on percussion, and Ricky Ford on tenor sax – all coming together in ways that are filled with unusual rhythms, odd turns of phrases, and just the right sort of unconventional accompaniment to fit the Africanist themes of Sathima's music at its best. A few numbers are more traditional, but even these have a nicely sensitive feel – and offer plenty of room for Willis to solo. Titles include "Winne Mandela Beloved Heroine", "African Songbird", "Gift Of Love – For Duke", "Music", and "You Are My Heart's Delight". Southern Touch is a set that's maybe a bit more of a straight jazz vocal record than some of Sathima Bea Benjamin's earlier material – but that might also be because the great Kenny Barron is part of the group on piano – supporting Sathima's great voice with the help of Buster Williams on bass and Billy Higgins on drums! Tunes are mostly standards, but it's great to hear them opened up with Benjamin's unique phrasing – that voice that was raised up on more righteous material in earlier years, and which still seems to bring some of that power to tunes that include "Street Of Dreams", "Lush Life", "One Alone", "I'm Glad There Is You", and "I've Heard That Song Before". (Vocalists, Jazz) CD

A rare bit of righteous jazz from the Cali scene of the 70s – a record that's much more obscure than some of the better-known efforts from the Bay Area and the LA scene, but which resonates strongly with all the power of those classics too! James Benson was an educator as much as he was a musician – yet here, he proves himself very strongly as a hell of a leader – blowing flutes, tenor, and soprano in a cool combo that also features the greats Cal Green and Roy Gaines on guitars, Ed Pratt on alto, Buffalo Williams on piano, and Ronnie Randall on drums! There's plenty of percussion on the record, including some congas by Big Black – and the set mixes rootsy rumblings with spiritual solos in a really great way. Sandra Meadows sings a bit on the set, and titles include "Malcolm IX", "Spring 2000", "Brother Don", "Song For My Black Mother", "Nigeria West Africa", and a nice remake of "Compared To What". (Jazz, Jazz) CD

A rare bit of righteous jazz from the Cali scene of the 70s – a record that's much more obscure than some of the better-known efforts from the Bay Area and the LA scene, but which resonates strongly with all the power of those classics too! James Benson was an educator as much as he was a musician – yet here, he proves himself very strongly as a hell of a leader – blowing flutes, tenor, and soprano in a cool combo that also features the greats Cal Green and Roy Gaines on guitars, Ed Pratt on alto, Buffalo Williams on piano, and Ronnie Randall on drums! There's plenty of percussion on the record, including some congas by Big Black – and the set mixes rootsy rumblings with spiritual solos in a really great way. Sandra Meadows sings a bit on the set, and titles include "Malcolm IX", "Spring 2000", "Brother Don", "Song For My Black Mother", "Nigeria West Africa", and a nice remake of "Compared To What". (Jazz, Jazz) LP, Vinyl record album

Features Eddie Henderson on trumpet, Mike LeDonne on piano, Buster Williams on bass, and Carl Allen on drums. CD

Startling! This album is one of two that a young Tony Williams cut for Blue Note, back when he was just hitting the age of 20, and when he was already blowing the minds of masters like Jackie McLean (who first hired him) and Miles Davis (who stole him from Jackie for his own group!) with an approach to drumming that was freed from usual time constraints. Williams conception was so unique, other young modernists – like the album's Wayne Shorter and Sam Rivers on tenor, Herbie Hancock on piano, and Gary Peacock on bass – quickly benefited from his presence, as you'll hear in this amazing session that sounds very little like any other Blue Note release. Williams wrote all of the tracks, but the style is much freer than any sense of composition might imply – and the group is shaken up differently from track to track. Titles include "From Before", "Echo", and "Extras". CD

A really unique pairing of talents – Japanese singer Miki Yamaoka, and American tenor legend Benny Golson – who also produced and arranged the set! Miki's got a voice that's surprisingly deep and dusky at points, which makes here a great match for Golson's tenor solos on the record – blown in this easygoing, soulful style that matches the pace of the rhythms nicely – served up by the trio of Soichi Moriki on piano, Buster Williams on bass, and Carl Allen on drums! Yamaoka's definitely got a different vibe than some of the other female Japanese jazz singers on the market – and titles include "One Day Forever", "Feeling Good", "I Remember Clifford", "Whisper Not", "Autumn In New York", "I Love You", and "Fly Me To The Moon" – which just features Miki's vocals and Buster's bass! (Vocalists, Jazz) CD

Two early classics from drummer Tony Williams – back to back on a single CD! First up is Life Time – a record that represents the pinnacle of Blue Note's "new thing" era! This amazing album was led by drummer Tony Williams (then just a wee lad, playing with Miles Davis, in his legendary 60s quintet) – but it's more of a "roundtable" session that features equal contributions by some of Blue Note's best avant garde players from the time, all of them young firey geniuses like Williams. The configurations of the players change drastically from track to track – and some feature Sam Rivers, Richard Davis, and Gary Peacock playing in a 2-bass and tenor lineup with Williams; others feature Bobby Hutcherson and Herbie Hancock playing heavily percussive vibes and piano solos next to Williams' assorted percussion playing; and one track doesn't even feature Williams at all, but has Herbie Hancock and Ron Carter in a beautifully moody bass and piano duet! The record is a treasure – and it's a landmark recording that's probably one of the greatest that Blue Note (or any other label) released during the 60s! Titles include "Barb's Song to The Wizard", "Memory", and "Two Pieces Of One: Red & Green". Spring is another gem – cut for Blue Note, back when he was just hitting the age of 20, and when he was already blowing the minds of masters like Jackie McLean (who first hired him) and Miles Davis (who stole him from Jackie for his own group!) with an approach to drumming that was freed from usual time constraints. Williams conception was so unique, other young modernists – like the album's Wayne Shorter and Sam Rivers on tenor, Herbie Hancock on piano, and Gary Peacock on bass – quickly benefited from his presence, as you'll hear in this amazing session that sounds very little like any other Blue Note release. Williams wrote all of the tracks, but the style is much freer than any sense of composition might imply – and the group is shaken up differently from track to track. Titles include "From Before", "Echo", and "Extras". CD

Stellar work from the lovely lady – featuring a number of original songs, plus backing from a trio that features Kenny Barron on piano, Buster Williams on bass, and Billy Higgins on drums! (Vocalists, Jazz) LP, Vinyl record album

A great little album that's as compelling as its title! The set was one of the classic early 10" jazz sides recorded for Bethlehem in the early years of the label – and it features a group led by bassist Max Bennett, and featuring Charlie Mariano on alto, Stan Levy on drums, Claude Williamson on piano, and Frank Rosolino on trombone. Helen Carr makes a vocal appearance on a track or two, and the album's got a nicely schizophrenic style that pushes it past simple expectations – really cooking with a mean Mariano solo one minute, and laying back for a mellower vocal passage the next. Titles include "Rubberneck", "Just Max", "They Say", "TK", "Do You Know Why", and "I'll Never Smile Again". LP, Vinyl record album

Benny Goodman's famous 1938 live date at Carnegie Hall – with Teddy Wilson and Count Basie on piano, Lionel Hampton on vibes, Johnny Hodges on alto, Cootie Williams and Buck Clayton on trumpet, and Lester Young on tenor – plus Gene Krupa on drums, on his famous reading of "Sing Sing Sing". CD

Benny Goodman's famous 1938 live date at Carnegie Hall – with work from Teddy Wilson and Count Basie on piano, Lionel Hampton on vibes, Johnny Hodges on alto, Cootie Williams and Buck Clayton on trumpet, and Lester Young on tenor – plus Gene Krupa on drums. LP, Vinyl record album

Benny Goodman's famous 1938 live date at Carnegie Hall – with work from Teddy Wilson and Count Basie on piano, Lionel Hampton on vibes, Johnny Hodges on alto, Cootie Williams and Buck Clayton on trumpet, and Lester Young on tenor – plus Gene Krupa on drums, on his famous reading of "Sing Sing Sing". CD

Benny Goodman with Wardell Gray, Teddy Wilson, Red Rodney, Mary Lou Williams and others! CD

One of the most earthy, organic offerings of the Herbie Hancock scene of the 70s – a session that's led by Headhunter reedman Bennie Maupin, and which also features Herbie on acoustic and electric piano – all in a sound that's quite different from his own work of the time! The tracks here have a very spacious, slow-building approach – a sound that's often quite stark at times, and not nearly as funky or soul-directed as you might expect. Maupin shows incredible sensitivity in his way of putting together a tune – letting things come together quite naturally, almost with the botanical quality you might expect from the title. Other players include Buster Williams on bass, Freddie Waits and Billy Hart on drums, Bill Summers on percussion, and Charles Sullivan on trumpet – all used quite spaciously and sparingly. Titles include "Esenada", "Mappo", "Excursion", "Past Is Past", "The Jewel In The Lotus", and "Song For Tracie Dixon Summers". LP, Vinyl record album

A great amalgamation of players – and a quintet with powers far beyond their hokey name! The group's working in a polished approach to post-bop – a bit like styles heard on some of the Timeless and Steeplechase sessions of the late 70s, but with a more directive approach that really pushes the strong tunes on the set. The quintet features Charlie Rouse on tenor, Benny Bailey on trumpet, Albert Dailey on piano, Buster Williams on bass, and Keith Copeland on drums – all working their way through longish tunes by composers that include John Hicks and Fritz Pauer, as well as Rouse and Dailey. The album features a beautiful take on Hicks' great tune "Naima's Love Song", plus the tracks "After The Morning", "Spelunke", "Lil Sherry", and "Mr McGhee". CD

Startling! This album is one of two that a young Tony Williams cut for Blue Note, back when he was just hitting the age of 20, and when he was already blowing the minds of masters like Jackie McLean (who first hired him) and Miles Davis (who stole him from Jackie for his own group!) with an approach to drumming that was freed from usual time constraints. Williams conception was so unique, other young modernists – like the album's Wayne Shorter and Sam Rivers on tenor, Herbie Hancock on piano, and Gary Peacock on bass – quickly benefited from his presence, as you'll hear in this amazing session that sounds very little like any other Blue Note release. Williams wrote all of the tracks, but the style is much freer than any sense of composition might imply – and the group is shaken up differently from track to track. Titles include "From Before", "Echo", and "Extras". CD

A set that's maybe a bit more of a straight jazz vocal record than some of Sathima Bea Benjamin's earlier material – but that might also be because the great Kenny Barron is part of the group on piano – supporting Sathima's great voice with the help of Buster Williams on bass and Billy Higgins ond rums! Tunes are mostly standards, but it's great to hear them opened up with Benjamin's unique phrasing – that voice that was raised up on more righteous material in earlier years, and which still seems to bring some of that power to tunes that include "Street Of Dreams", "Lush Life", "One Alone", "I'm Glad There Is You", and "I've Heard That Song Before". (Vocalists, Jazz) CD

An expanded edition of an earlier 10" LP – featuring a group led by bassist Max Bennett, one that includes Charlie Mariano on alto, Stan Levy on drums, Claude Williamson on piano, and Frank Rosolino on trombone! Helen Carr makes a vocal appearance on a track or two, and the album's got a nicely rich style that pushes it past simple expectations – really cooking with a mean Mariano solo one minute, and laying back for a mellower vocal passage the next – all proof that Bennett was one of the cooler leaders of his time, and it's a damn shame he didn't make more records like this! Titles include "Rubberneck", "Just Max", "They Say", "TK", "Do You Know Why", and "I'll Never Smile Again". LP, Vinyl record album

Rock-solid work from the legendary Benny Golson – part of an amazing run of late-life sessions that have had us falling in love with his talents all over again! The set's got a very firm core – piano from Mike LeDonne, bass from Buster Williams, and drums from Carl Allen – players who have all the sense of confidence, complication, and swing to match Golson's rich work on tenor – that raspy tone and careful way of phrasing that we always loved, even at the start, but which has emerged to make Benny a player who's touched whole new generations in recent years. Tracks include the original titles "Jump Start", "Horizon Ahead", "Domingo", and "Night Shade" – and the set also features Carl Allen's "Out Of The Darkness & Into The Light", which has a compelling spoken introduction too. CD