Rare quartet work from Hampton Hawes – brilliant stuff, too – with some incredible solos by both Hamp and also by Larry Bunker on vibes! Hampton is working here with a group of fellow west coast players including drummer and vibist Bunker (exclusively on the vibes here and he's incredible at it), Clarence Jones on bass and Larry Marable on the kit. Hawes works best in small combos, of course – most often in trios – but the added group dynamics that come in with the vibes here is truly exciting! Includes the Hawes originals "Terrible T", "Fanfare", and the standouts "Hamp's Paws" – plus "Move" (another highlight and one of the fastest moving number on the record), "Squeeze Me", "Once In A While" and riveting take on Charlie Parker's "Buzzy" to close. LP, Vinyl record album

A classic split album of bop piano from both coasts – kind of a double-header in jazz, and one that really packs a punch! Hamp Hawes represents the west coast – and unlike his cool jazz contemporaries, he's grooving hard in a quartet that includes Larry Bunker on vibes, Larry Marable on drums, and Clarence Jones on bass. Hawes' playing on the record is some of his best of the 50s – and titles include "Terrible T", "Move", "Fanfare", "Hamp's Paws", and "Buzzy". The east coast side of the set is laid down by Freddie Redd – grooving hard in a rare early set, with a trio that includes John Ore on bass and Ron Jefferson on drums. Redd's titles include "Reddy Freddie", "Lady J Blues", and "Debut". CD

A classic split album of bop piano from both coasts – kind of a double-header in jazz, and one that really packs a punch! Hamp Hawes represents the west coast – and unlike his cool jazz contemporaries, he's grooving hard in a quartet that includes Larry Bunker on vibes, Larry Marable on drums, and Clarence Jones on bass. Hawes' playing on the record is some of his best of the 50s – and titles include "Terrible T", "Move", "Fanfare", "Hamp's Paws", and "Buzzy". The east coast side of the set is laid down by Freddie Redd – grooving hard in a rare early set, with a trio that includes John Ore on bass and Ron Jefferson on drums. Redd's titles include "Reddy Freddie", "Lady J Blues", and "Debut". LP, Vinyl record album

About as classic as you can get for Billie Holiday on Verve – a wonderfully intimate small group session, recorded with top-shelf players and a smokey torchy mood! Billie's in her later years by the time of the set, but somehow singing with even more emotion and life – working with a group that includes Benny Carter, Jimmy Rowles, Harry Edison, Larry Bunker, and John Simmons – on tracks that include "It Had To Be You", "A Fine Romance", "Gone With The Wind", "Isn't It A Lovely Day", "Ghost Of A Chance", and "Come Rain Or Come Shine". (Vocalists, Jazz) LP, Vinyl record album

This was Jackie & Roy's first album for Columbia and it mainly consists of some familiar tunes by the likes of Ira & George Gershwin, Rodgers & Hart and Cole Porter with a Roy Kral original thrown in. The tracks include "Chicago", "Fun Life", "Mountain Greenery", Kral's "Wingin' With The Wind", "Cheek To Cheek", and "They Can't Take That Away From Me". Jackie & Roy are accompanied by some well known musicians such as Barney Kessel on guitar, Larry Bunker on vibraphone, Anthony Ortega on alto sax and flute and Kral plays the piano. (Vocalists, Jazz) LP, Vinyl record album

One of the greatest records ever cut by pianist Pete Jolly! Little Bird is a sweet set of instrumentals featuring a trio of Chuck Berghofer on bass and Larry Bunker on drums, plus Howard Roberts on guitar and Kenny Hume on added percussion. The centerpiece here is Jolly's groovy hit version of "Little Bird", a jaunty little soul jazz number – but the whole album swells in an easily swinging groove that holds up throughout. Titles include "My Favorite Things", "To Kill A Mockingbird", "Never Never Land", and "Three Four Five". LP, Vinyl record album

Great work from one of the grooviest pianists of the 60s – a player who could always keep things lively and swinging, even in a small combo session! The album's one of Pete Jolly's gems for the Ava label – a follow-up to his semi-hit Little Bird, and like that one, a record done with some slight additional help from Howard Roberts on a few tracks. But this time around, Roberts' work is only on a few of the titles – leaving Pete's core trio to take over most of the grooves themselves, building strongly from warmly rolling rhythms by Chuck Berghofer on bass and Larry Bunker on drums, topped by Jolly's surprisingly soulful lines on piano – all in a blend that reminds us of the great balance between lyricism and groove we always find in the best work of Vince Guaraldi. Titles include "Sweet September", "Can't We Be Friends", "Any Number Can Win", "Soft Winds", "Oleo", "Yours Is My Heart Alone", "I'm Beginning To See The Light", and "Kiss Me Baby". LP, Vinyl record album

Proof that the Kenton sound could work in just about any format – as Stan transforms a host of older tunes from his book into a bossa nova groove! The approach is simple, but great – as the rich Kenton tones and colors are infused with some added rhythms laid down by Milt Holland, Larry Bunker, and Frank Guerrero on Latin percussion. Horn players Steve Marcus, Jack Nimitz, Dalton Smith, Conte Candoli, and Gabe Baltazar carve out some great lines in the set – cascading waves of sound that are a wonderful counterpoint to the driving rhythms of the set – almost in a way that recalls the Kenton Latin sides of the 50s, but a bit more subtle. Titles include "Kentonova", "Opus In Chartreuse", "Artistry In Rhythm", "Concerto To End All Concertos", "Loco Nova", "Artistry In Bossa Nova", "Eager Beaver", and "Painted Rhythm". LP, Vinyl record album

A set that's noteworthy not just for the presence of alto saxophonist Lee Konitz, and for the leadership of baritonist Gerry Mulligan – but a record that also features the great Chet Baker on trumpet, working here as part of a trio of musicians who were really helping transform the sound of jazz in the early 50s! And maybe most noteworthy in the set is the lack of any piano at all – a strategy of Mulligan's at the time, but used in a way that also echoes some of Lee's sublime quartet sessions of the mid 50s too – and a nice setting for Chet, as he has plenty of space to open up and craft those magical notes of his youth! The rest of the group features Larry Bunker on drums, and either Carson Smith or Joe Mondragon on bass – and material was recorded partly live, and partly in the studio – with titles that include "Broadway", "Sextet", "Almost Like Being In Love", "Too Marvelous For Words", "Lover Man", "I'll Remember April", and "All The Things You Are". LP, Vinyl record album

A set that's noteworthy not just for the presence of alto saxophonist Lee Konitz, and for the leadership of baritonist Gerry Mulligan – but a record that also features the great Chet Baker on trumpet, working here as part of a trio of musicians who were really helping transform the sound of jazz in the early 50s! And maybe most noteworthy in the set is the lack of any piano at all – a strategy of Mulligan's at the time, but used in a way that also echoes some of Lee's sublime quartet sessions of the mid 50s too – and a nice setting for Chet, as he has plenty of space to open up and craft those magical notes of his youth! The rest of the group features Larry Bunker on drums, and either Carson Smith or Joe Mondragon on bass – and material was recorded partly live, and partly in the studio – with titles that include "Broadway", "Sextet", "Almost Like Being In Love", "Too Marvelous For Words", "Lover Man", "I'll Remember April", and "All The Things You Are". LP, Vinyl record album

One of the best records we've ever heard from pianist Lou Levy – a record that steps past the simple format of earlier records, into a style that's slightly modern, and very cool – thanks to the addition of vibes to his usual trio format. Larry Bunker plays vibes on the record, and rhythm's by Stan Levy and Leroy Vinnegar – both of whom hip things up nicely, and give the album a soulful bottom that offsets Levy's sprightly piano lines in a wonderful way. A real delight, even on the familiar tunes – and titles include "Gray Fox", "Tune Up", "Without You", "Wail Street", "Star Eyes", "Imagination", and "Indiana". LP, Vinyl record album

An unusual album originally released on the small west coast Zephyr label which features a great all-star lineup – work from Buddy Collette on alto and flute, Russ Freeman on piano, Herbie Harper on trombone, Larry Bunker on vibes, and Shelly Manne on drums! LP, Vinyl record album

Volume 2 of a classic live album by Gerry – expanded to include the entire concert recorded in December of 1954 in San Diego. The group's a great one – and features Zoot Sims, Bob Brookmeyer, Larry Bunker, Red Mitchell, and Jon Eardley – and this version is expanded a lot from the original album, with 14 titles that include "Nights At The Turntable", "Blues For Tiny", "Frenesi", "Limelight", "The Red Door", "Western Reunion", and "I Know Don't Know Why". CD

Gerry Mulligan on baritone sax and Chet Baker on trumpet joined by Bobby Whitlock, Carson Smith and Henry Grimes on bass, and Chico Hamilton, Larry Bunker, and Dave Bailey on drums. CD

Very cool combo work from Gerry Mulligan – and very much in the Pacific Jazz style of the time, given that Chet Baker is in the group on trumpet! There's no piano at all – just Carson Smith on bass and Larry Bunker on drums – and Mulligan is already at his modern best! LP, Vinyl record album

A seminal session from Gerry Mulligan – one of his 50s quartet recordings with Chet Baker, in a group that also includes Carson Smith on bass and Larry Bunker on drums. The pianoless quartet grooves nicely in a twin-horn frontline – gliding effortlessly through tunes that include "I May Be Wrong", "Jeru", "Swinghouse", "Darn That Dream", and "Love Me Or Leave Me". LP, Vinyl record album

Nice, mellow, and very groovy! Joe Pass plays here with the piano and organ of Clare Fischer, who's always one of our favorites – a player who manages to turn any session into something more than it appears at face value – thanks to a strong sense of craft and cleverness! Clare's touch here is a bit gentler than on some of his later sides – but it's a very welcome one nonetheless – and provides a perfect setting for Joe's lean lines on guitar – strung out with a near-perfect tone, and backed by either Albert Stinson or Ralph Pena on bass, and Colin Bailey or Larry Bunker on drums. Titles include "Catch Me", "Walkin Up", "No Cover No Minimum", "Summertime", and "Just Friends". LP, Vinyl record album

A classic 50s album on Savoy – a set that's almost as memorable for its cartoony cover as it is for the great Art Pepper material on the record! Pepper's tone here is wonderful – that sharper-edged, more soulful approach that you often get in his smaller label 50s work – a nice contrast to some of the smoother sides of Art, and the part of his sound we really love. The album's got three different west coast groups working with Pepper – with players who include Russ Freeman or Hampton Hawes on piano, Jack Montrose on tenor, Joe Mondragon or Monte Budwig on bass, and Larry Bunker or Bobby White on drums. But Art's the main star of the set – blowing beautifully throughout, with both jaw-dropping precision and a tremendous sense of sound! Titles include "Tickle Toe", "Chili Pepper", "Susie The Poodle", "Brown Gold", "Holiday Flight", "Surf Ride", "Straight Life", "Cinnamon", and "Thyme Time". CD

Amazing work from west coast saxophonist Bill Perkins – playing here in a mode that's quite different than his more famous 50s recordings! The style here is almost one you'd hear on late 60s A&M Records – definitely "quietly there", with a blend of Perkins' reeds and light organ, piano, guitar, and percussion. The style is very subtle, and often very spare – mixed differently on each number, and shaded nicely with an equal focus on sound shapes as on jazz. There's a bit of a late 60s Paul Desmond feel here, but even more restrained – and other players include Victor Feldman on piano and organ, John Pisano on guitars, and Larry Bunker on drums. Titles include "Emily", "Quietly There", "Time For Love", "Just A Child", and "Shining Sea". LP, Vinyl record album

Very unusual work from trumpeter Shorty Rogers – recorded in 1962 for the Navy Swings radio show, and done in a way that captures a different side than usual of Rogers' playing! As the title implies, a number of tunes feature vocalist Jeri Southern joining in the group – singing in a style that's nicely more jazzy than some of her other work, really surprising us with her ability to deliver a heartfelt ballad. But even more than the vocals on the CD, we love the instrumental numbers – as Rogers is playing here with 2 different groups that feature an assortment of unusually-matched LA players – including Harold Land on tenor, Gary Peacock on bass, Larry Bunker on drums, and either Mike Wofford or Amos Trice on piano. Rogers himself plays both trumpet and flugelhorn – and although the tracks are relatively short, there's some well-crafted interplay between the members of the group. The set features 13 tracks, 3 of which are vocal – "Down With Love", "Spring Will Be A Little Late This Year", and "I Hadn't Anyone Till You". Instrumental numbers include "Time Was", "Popo", "Morning Fun", "Martians Go Home", "Casa De Luz", and "Paul's Pal". CD

An extremely groovy session from arranger Pete Rugolo – done in a style that's partly jazz, but which also has lots of dynamic range – in a way that's almost in the style of some of the RCA bachelor pad albums from the time. Rugolo makes the most of the interesting format – using the horns for blasting, brassy waves of sound upfront – then letting the guitars step around in cool little ways – sometimes hitting the percussive tones you'd hear on an Esquivel album, and at others going for a straighter jazz approach. Players include Pete Candolo, Don Fagerquist, Howard Roberts, Larry Bunker, and Al Viola – and titles include "Two Guitars", "Ten Trumpets Have I", "Trumpets At Large", "Guitarsville", "Whispering", and "Echoes Of Harlem". LP, Vinyl record album

A percussion-heavy batch of tracks that has Pete Rugolo starting from a mode explored heavily in the hi-fi years, but taking the genre into much jazzier territory! With the help of a large group of west coast players – including Don Fagerquist, Larry Bunker, Herbie Harper, Frank Rosolini, Jack Costanzo, and Shelly Manne – Pete really makes things swing nicely, and brings in as much dynamic energy from the horns as he gets from the percussion! Titles include "Bongo Riff", "Drumerama", "Funky Drums", "Interplay For Drums, Bass", "Artistry In Percussion", and "1+4". LP, Vinyl record album

Seminal work from the man credited with the invention of bossa nova! Way back in the early 50s, Bud Shank cut some albums for Pacific Jazz in LA with guitarist Laurindo Almeida. These records mixed together Shank's flute and sax with lively guitar stylings by Almeida – and in many accounts, the recordings are quoted as being a seminal influence on the bossa scene in late 50s Brazil. No surprise, then, that when bossa broke in the US, Pacific Jazz took Shank back in the studio to cut more side in the same style – which is what you'll get on this excellent 2CD set! The work here ranges from 1962 to 1965 – and it features Shank playing in a number of groups: one with Clare Fisher piano, Larry Bunker vibes, and Milt Holland percussion; one with Fisher on piano and organ, Bunker on vibes, and Joe Pass on guitar; one with Joao Donato on piano and Rosinha De Valenca on guitar; and one with De Valenca on guitar and Sergio Mendes on piano. The 2CD set features 28 tracks in all – all pure stripped-down bossa jazz at its finest. Shank's a hell of a reed player – and the format gives him one of the best platforms to blow of his career. Titles include "Sambou Sambou", "Elizete", "Um Abraco No Bonfa", "Gostoso", "Joao", "Serenidade", "Silk Stop", "Sausalito", "Illusao", "Caminho De Casa", "Otem A Note", "Wistful Samba", "O Barquinho", and "Samba Guapo". CD

A sublime little set all the way through – an early 60s date from the west coast scene – and one that was almost as important to that side of the country as the Verve bossa records were to New York! Bud Shank's in the lead on alto sax – no flute at all this time around – blowing sharp and soulfully, in a way that's even more deft than most of his other albums! But the equal star here is the young Clare Fischer – who plays piano in the group, and also contributed a host of original tunes to the set – fresh numbers that are way different than the usual "bossa-ized" standards, or American remakes of Brazilian classics. Ralph Pena is a key member of the group on bass – and Larry Bunker plays some vibes as well. Titles include "Joao", "Pensativa", "Samba Guapo", "Samba Da Borboleta", and "Que Mais?". LP, Vinyl record album

A sublime little set all the way through – an early 60s date from the west coast scene – and one that was almost as important to that side of the country as the Verve bossa records were to New York! Bud Shank's in the lead on alto sax – no flute at all this time around – blowing sharp and soulfully, in a way that's even more deft than most of his other albums! But the equal star here is the young Clare Fischer – who plays piano in the group, and also contributed a host of original tunes to the set – fresh numbers that are way different than the usual "bossa-ized" standards, or American remakes of Brazilian classics. Ralph Pena is a key member of the group on bass – and Larry Bunker plays some vibes as well. Titles include "Joao", "Pensativa", "Samba Guapo", "Samba Da Borboleta", and "Que Mais?". CD

An excellent set that combines the work of two lost horn players from the 50s! The first 8 tracks feature titles from an earlier 10" recording by Eddie Shu – an icy genius on the alto and tenor, working here in quartet format with Bobby Scott, Vinnie Burke, and Roy Haynes. Shu's got an angular tone that's a bit like that of Lee Konitz, but which is slightly less acrobatic, and perhaps a bit warmer – and he's a hell of a player, as you'll hear on the tracks "Tom Dick & Jim", "It's Sand Man", "Justice", "On East Side", and "Peace". Side two features one of the only albums ever cut by tenorist Bob Hardaway – a young west coast player who really cooks on this obscure record for Bethlehem! Hardaway's tenor has a bit more bite than some other Bethlehem horns of the time – and the vibe is almost east coast at time – with a stronger attack on the solos, and a sense of soul that comes through even more strongly on the ballads. The lineup is great, too – with Marty Paich on piano, bringing a nice punch to the tunes – plus vibes from Larry Bunker on side one, ringing out with a really wonderful tone. Bunker shifts to drums on side two – and the record features bass from either Max Bennett or Joe Mondragon, and additional drums from Art Madigan. Titles include "Jr", "Lou's Blue", "Indiana", "I Cover The Waterfront", and "Out Of Nowhere". LP, Vinyl record album

A beautiful triangulation of horns from the Spectral Trio – working here on their second album, with a mighty nice lineup that features Larry Ochs on tenor and sopranino, Dave Rempis on alto and baritone, and Darren Johnston on trumpet! The sound here feels more focused on textures than before – as the players balance their expressions together to create these moody backdrops, which are then penetrated by individual moments of expression – often with a stark sound of delight that can be very powerful. Titles include "Brooklyn Took It", "Splash Zone", "Dirt Angels", "This Is Not Vermont", "Gravity Corridor", and "Bunker". CD

A great little session that features some of the best 70s work from these two tenorists – a great little record that has Warn Marsh and Lew Tabackin really opening up next to each other! Toshiko Akiyoshi produced the album for the pair – and although she plays piano on one track, most of the set is piano-less – and opens with this great reed interplay over rhythms from Larry Bunker on drums and John Heard on bass – a very cool setting that's kind of an update of older west coast modes, but with more 70s edges overall! Titles include "Basic #2", "Easy", "March Of The Tadpoles", and "Hangin Loose". LP, Vinyl record album

Nice stuff from Pat Williams! Although known for mostly groovy 60s stuff (ala his legendary Verve and soundtrack work), this album features Williams hitting more of a 70s jazz funk groove, with a nice electric edge. The tracks are long, and the solos are played by Tom Scott and Marvin Stamm (mostly) – and the rest of the group includes Mike Melvoin on keyboards, John Guerin on drums, and Larry Bunker on percussion. Cuts include "And on the Sixth Day", "The Witch", and "Mr. Smoke". CD

Nice stuff from Pat Williams! Although known for mostly groovy 60s stuff (ala his legendary Verve and soundtrack work), this album features Williams hitting more of a 70s jazz funk groove, with a nice electric edge. The tracks are long, and the solos are played by Tom Scott and Marvin Stamm (mostly) – and the rest of the group includes Mike Melvoin on keyboards, John Guerin on drums, and Larry Bunker on percussion. Cuts include "And on the Sixth Day", "The Witch", and "Mr. Smoke". LP, Vinyl record album

The complete Capitol recordings of pianist Claude Williamson – a great west coast talent who flourished most strongly on his mid 50s sessions! Williamson was a key figure in the Lighthouse jazz scene of the time – a player who worked nearly every day of the week, and developed an amazingly fluid groove – one that's very much in place on these sides! Rhythm is by Curtis Counce, Max Bennett, and Buddy Clark on bass – and either Stan Levey or Larry Bunker on drums – but the real surprise is Williamson, who's got a more aggressive approach to the keys and bolder tone than on any of his Bethlehem albums, a sound that really makes us reevaluate him as a player! CD features 21 tracks in all – with titles that include "Penny", "Bouncing With Bud", "Salute To Bud", "Obsession", "Indiana", "Bean & The Boys", "Spring Is Here", "The Kerry Dance", and "Yesterdays". CD

A great reissue that pairs together 2 obscure west coast sides from the 50s – both of them featuring some of the scene's best players, caught in a very different setting! The first 6 tracks on the set are from a 10" LP that originally appeared on the Skylark label under the leadership of drummer George Redman. Redman's playing and leadership are fine, but the real strength of the set is its work by Bob Gordon on tenor sax and Herbie Harper on trombone – coming together here beautifully in the deft style used often on the Nocturne recordings by both players. Titles include "Babette", "Sonny Boy", "Moer Blues", "Slow Mood", and "Just George". The remaining 5 tracks on the set are from Reflections In Jazz – an even hipper set led by Bob Enevoldsen on both valve trombone and tenor – and featuring Marty Paich on piano and accordion, Larry Bunker on vibes, and Red Mitchell on bass. Enevoldsen's work on the valve trombone is really great here – as well-spaced and timed as that of Bob Brookmeyer in the period – but also given some interesting inflections, due to the use of vibes and accordion, which seem to bring out even more harmonics in the session. Titles include "Topsy", "Loaded With Bass", "Iron Works", "Blues & Rhythm", and "Don't Be That Way". CD