5 CDs – all wonderful! The set brings together 8 of Sonny Rollins' classic albums from the late 50s – Brilliant Corners, Way Out West, Jazz Contrasts, The Sound Of Sonny, That's Him!, Sonny Rollins Plays, Freedom Suite and Sonny Rollins & The Contemporary Leaders. CD

Two classic albums from the great Sonny Rollins – both made during some time on the LA scene of the late 50s, and matched here with a more obscure third album that issued alternate sides from the sessions! First up is the classic Way Out West – a set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". Next is Sonny Rollins & The Contemporary Leaders – one of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! Last is Contemporary Alternate Takes – a great collection of alternate takes from Sonny's landmark recordings for Contemporary Records in the late 50s – material recorded in LA with an easier-swinging groove than some of his New York work, in a style that let Sonny blow in round, warm, and really open tones – almost foreseeing his work for RCA in the mid 60s. Players include Ray Brown, Shelly Manne, Victor Feldman, and Barney Kessel – and the set features alternate takes of "I'm An Old Cowhand", "Come Gone", "Way Out West", "The Song Is You", and "You". CD

Two classic albums from the great Sonny Rollins – both made during some time on the LA scene of the late 50s, and matched here with a more obscure third album that issued alternate sides from the sessions! First up is the classic Way Out West – a set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". Next is Sonny Rollins & The Contemporary Leaders – one of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! Last is Contemporary Alternate Takes – a great collection of alternate takes from Sonny's landmark recordings for Contemporary Records in the late 50s – material recorded in LA with an easier-swinging groove than some of his New York work, in a style that let Sonny blow in round, warm, and really open tones – almost foreseeing his work for RCA in the mid 60s. Players include Ray Brown, Shelly Manne, Victor Feldman, and Barney Kessel – and the set features alternate takes of "I'm An Old Cowhand", "Come Gone", "Way Out West", "The Song Is You", and "You". LP, Vinyl record album

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! CD

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! LP, Vinyl record album

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! CD

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! Includes alternate versions of "You", "The Song Is You", and "I've Found A New Baby". CD

Incredible work from one of the greatest groups of the New York avant scene of the 60s! This French set (probably from the late 60s or early 70s) brings live tracks recorded in Copenhagen in 1963 – and which rarely every show up in any form, even on reissue. The group features Shepp, Don Cherry, John Tchicai, Don Moore, and JC Moses – and the work ranks with some of Shepp's best-ever, and has that dark well-managed "new thing" sound of his best early work on Impulse. In fact, we'd rank these two LPs right up there with some of the best avant garde jazz of the 60s – which is a shame when you consider how rare it is to find. Titles include "Mik", "The Funeral", "Cisum", and "When Will The Blues Leave". US issue of the original recording by Polydor. LP, Vinyl record album

A jazz mass, but unlike any other variation on the theme that's ever been recorded – thanks to a very righteous performance from James Tatum – who makes the whole thing feel much more like an organic spiritual jazz set than anything you'd ever find in a church! James himself plays both Fender Rhodes and piano – at the helm of a progressive combo from the Detroit underground of the early 70s – a group that features soprano sax from Theodore Buckner, trumpet from Judge Gray, tenor and alto from Louis Barnett, and trombone from Norman O'Gara – all lesser-known players, but who work beautifully alongside James' lead! The Fender Rhodes work is wonderful – as great as you'll find on any other record of the time – and there's also two singers who add to the sound – but step out at all the right moments to let the solos open up. Titles include "Gloria", "Offertory", "Holy Holy Holy", "Amen", "Lamb Of God", and "Communion" – but the overall sound is way more than you'd expect from those titles! LP, Vinyl record album

A groovy 60s session from vibist Cal Tjader – and an excellent little Latin set, with a mixture of bossa nova and Latin jazz that goes way beyond the promise of the title! The great Clare Fischer arranged the set – and if you know his work with Cal, you know that he's got a wonderful approach to jazz that works perfectly with Tjader's unique phrasing – a spacious sensibility, and a great sense of timing – one that always ensures the tunes sparkle with a sweetly stepping groove. Fischer plays piano on the record – and other players include Laurindo Almeida on guitar, Paul Horn on reeds, Johnny Rae on timbales, and Milt Holland on percussion. Titles include "Choro E Batuque", "Nao Diga Nada", "Elizete", "Imagen", "Vai Querer", and "Que Tristeza". LP, Vinyl record album

An incredibly cool use of the koto – that stringed Japanese instrument that got some great reworking in the 70s, thanks to hip records like this! The instrument is set up here amidst some sophisticated larger arrangements – in a way that almost takes off from some of the Dorothy Ashby material on Cadet Records, but which also has a richness in sound that echoes some European soundtrack albums too – gentle grooves with warm currents that are mighty nice throughout – as keyboards, guitar, and even a bit of vibes come into the mix to really update the setting for the ancient instrument! The whole thing comes off with a sound that's surprisingly soulful at times – and titles include "Yagi Bushi", Otemoyan", "Mamuro Gawa Ondo", "Gujo Bushi", "Nishinjo Bushi", "Ume No Uta Genka", "Itsuki No Komori Uta", and "Akita Obako". LP, Vinyl record album

A deceptively groovy record – one that, like the other two in this hip series, hides some very cool sounds behind a relatively unassuming cover! Toshiko Yonekawa plays the Japanese koto, but the setting here is very different than the spare, folksy mode of earlier koto records – as arranger Kiyoshi Yamaya brings in a hip blend of jazz instrumentation and strings – using keyboards, vibes, guitar, and other instruments to update the sound, and give the whole thing a slinky 70s groove – bridging generations in Japanese music, with some great cinematic funk elements at times – on titles that include "Kariboshikiri Uta", "Tabaruzaka", "Iya No Kohiki Uta", "Takeda No Komori Uta", "Hietsuki Bushi", "Mogami Gawa Funa Uta", and "Aizu Bandai San". LP, Vinyl record album

One of the coolest Japanese albums of the 70s to blend classic instrumentation and contemporary elements – a record that's got plenty of the koto promised in the title, but which also serves up the music with a wonderfully rich vibe throughout! The style is more in sophisticated soundtrack territory, but with an undercurrent of funk underneath the larger arrangements – ala David Axelrod – and next to the koto played on each track by Toshiko Yonekawa, you'll find some wonderful basslines, vibes, and even some occasional tenor as well – all wrapped together in these really stunning arrangements from Kiyoshi Yamaya! The whole thing's as beautiful as it is groovy – and titles include "Tanchame", "Konpira Fune Fune", "Oshima Bushi", "Kaigara Bushi", "Sado Okesa", and "Tosa No Sunayama". LP, Vinyl record album

Music from Paul Horn, Azymuth, Marcio Montarroyos, Walton Ornato, Phil Manzanera & Sergio Dias, Paul Horn and Egberto Gismonti. CD

An album with a sexy cover, but a set that's one of the more soulful from the LA scene of the 50s – thanks to a tight, sharp group working under the leadership of bassist Curtis Counce! Counce didn't cut many albums as a leader, but all of them are pretty darn great – and done with a bit more edge than the cool jazz of the LA scene – a bit more open, with a strong focus on the solos on some of the album's longer tracks too! Solos include great work on tenor by Harold Land – who's really coming into his own here – plus Jack Sheldon on trumpet, and Carl Perkins on piano – a player who would pass away not long after this set. Frank Butler completes the group on drums – and titles include "Complete", "Big Foot", "Counceltation", and "Mean To Me". LP, Vinyl record album

An album with a sexy cover, but a set that's one of the more soulful from the LA scene of the 50s – thanks to a tight, sharp group working under the leadership of bassist Curtis Counce! Counce didn't cut many albums as a leader, but all of them are pretty darn great – and done with a bit more edge than the cool jazz of the LA scene – a bit more open, with a strong focus on the solos on some of the album's longer tracks too! Solos include great work on tenor by Harold Land – who's really coming into his own here – plus Jack Sheldon on trumpet, and Carl Perkins on piano – a player who would pass away not long after this set. Frank Butler completes the group on drums – and titles include "Complete", "Big Foot", "Counceltation", and "Mean To Me". LP, Vinyl record album

One of our favorite albums by Teddy Edwards – and one with some organ in the group! This obscure quartet side has Gerry Wiggins playing a rare bit of Hammond – grooving the group with a lean and open-ended soul jazz approach that really has Edwards blowing at his best! The style sits right up there next to Gene Ammons' best albums of the time, and the rest of the group features Leroy Vinnegar on bass and Milt Turner on drums. Titles include "Smokin", "No Regrets", "A Bag Of Blues", "Wiggin", and "Little Steddy" – all originals that get Edwards past the usual bag of soulful standards! LP, Vinyl record album

Excellent set of LA hardbop tracks by the great tenor player Teddy Edwards, with a group that includes Joe Castro, Leroy Vinnegar, and Billy Higgins. Edwards' tone is fantastic, and the tracks give him a chance to show off his soloing talent in a way that he didn't always reach on other recordings. Tracks include "Blues In G", "You Name it", "Higgins' Hideaway", and "The Sermon". CD

Two of the best west coast boppers of the postwar years – back together again in a killer revival date cut by Contemporary Records! As the title implies, the set's got a backward-looking sort of feel – at least for the early 60s recording date – but from the perspective of our generation, the whole thing merges nicely into the classic sound of LA bop – perhaps extending out the original Central Ave groove a bit more, thanks to the generous recording spirit of Contemporary, and the longer tracks on the date. Edwards plays tenor, McGhee plays trumpet, and other players include Phineas Newborn on piano, Ray Brown on bass, and Ed Thigpen on drums. Titles include "Together Again", "You Stepped Out Of A Dream", "Up There", "Perhaps", "Misty" and "Sandy". LP, Vinyl record album

Two of the best west coast boppers of the postwar years – back together again in a killer revival date cut by Contemporary Records! As the title implies, the set's got a backward-looking sort of feel – at least for the early 60s recording date – but from the perspective of our generation, the whole thing merges nicely into the classic sound of LA bop – perhaps extending out the original Central Ave groove a bit more, thanks to the generous recording spirit of Contemporary, and the longer tracks on the date. Edwards plays tenor, McGhee plays trumpet, and other players include Phineas Newborn on piano, Ray Brown on bass, and Ed Thigpen on drums. Titles include "Together Again", "You Stepped Out Of A Dream", "Up There", "Perhaps", "Misty" and "Sandy". CD

A great bit of soulful fusion from drummer Peter Erskine – one of the few albums he made as a leader of this nature, even though his playing graced lots of other wonderful records at the time! The approach here is tight, but never too much so – smooth, but never slick – a warmly electric groove that's really a lot more in a mid-70s sort of style than you'd expect from the early 80s date of the album. Other players here are all well-suited for the set – and include Randy Brecker on trumpet, Michael Brecker on tenor, Bob Mintzer on tenor, Don Grolnick on electric piano, Eddie Gomez on bass, Don Alias on percussion, and Mike Mainieri on vibes – and titles include "Leroy Street", "In Statu Nascendi", "All's Well That Ends", "My Ship", and "ESP". CD

A great group – with Clifford Jordan on tenor and soprano sax, plus James Williams on piano, Rufus Reid on bass, and Victor Lewis on drums. CD

One of Farmer's best sessions of the 70s – recorded in a mode that's a bit freer than usual, with a group that includes Hampton Hawes, Ray Brown, and either Steve Ellington or Shelly Manne on drums. Art Pepper sits in on 4 of the album's 6 tracks – and it's his tone and edgieness that really opens things up, casting Farmer's work on flugelhorn in a light that's darker than usual, filled with shadows that haven't crept into his playing for years, creating a depth to the record that really keeps us listening. Titles include "Downwind", "Namely You", "What Am I Here For?", and "Will You Still Be Mine?" CD

One of Farmer's best sessions of the 70s – recorded in a mode that's a bit freer than usual, with a group that includes Hampton Hawes, Ray Brown, and either Steve Ellington or Shelly Manne on drums. Art Pepper sits in on 4 of the album's 6 tracks – and it's his tone and edgieness that really opens things up, casting Farmer's work on flugelhorn in a light that's darker than usual, filled with shadows that haven't crept into his playing for years, creating a depth to the record that really keeps us listening. Titles include "Downwind", "Namely You", "What Am I Here For?", and "Will You Still Be Mine?" LP, Vinyl record album

A really pivotal album from the great Art Farmer – a late 50s session that has him finding that sense of tone and timing that would dominate his work in years to come! Art was already great by the time of this set, but he's also got maybe a more personal, almost poetic vibe at times – starting to realize that the space between the notes is as important as the notes themselves, while still maybe holding onto a slight bit of the bite of his earliest recordings too. The group is a very well-matched trio of easygoing modernists – Hank Jones on piano, Addison Farmer on bass, and Roy Haynes on drums – on titles that include "Too Late Now", "Back In The Cage", "And Now", "Stablemates", "Earth", and "Nita". LP, Vinyl record album

A really pivotal album from the great Art Farmer – a late 50s session that has him finding that sense of tone and timing that would dominate his work in years to come! Art was already great by the time of this set, but he's also got maybe a more personal, almost poetic vibe at times – starting to realize that the space between the notes is as important as the notes themselves, while still maybe holding onto a slight bit of the bite of his earliest recordings too. The group is a very well-matched trio of easygoing modernists – Hank Jones on piano, Addison Farmer on bass, and Roy Haynes on drums – on titles that include "Too Late Now", "Back In The Cage", "And Now", "Stablemates", "Earth", and "Nita". LP, Vinyl record album

An unexpected treasure – like so many of Art Farmer's later albums! The record is ostensibly a tribute to the music of Billy Strayhorn – which might make us expect some soporific Ellington cliches – but the session's really just a small group one, played by Art with a quintet that includes Clifford Jordan, James Williams, Rufus Reid, and Marvin Smitty Smith – all coming together in a fluidly soulful style that's really great. Farmer's work on flugelhorn seems even more inventive than ever – and titles include "Bloodcount", "Johnny Come Lately", "Isfahan", "Raincheck", and "Upper Manhattan Medical Group". LP, Vinyl record album

An unexpected treasure – like so many of Art Farmer's later albums! The record is ostensibly a tribute to the music of Billy Strayhorn – which might make us expect some soporific Ellington cliches – but the session's really just a small group one, played by Art with a quintet that includes Clifford Jordan, James Williams, Rufus Reid, and Marvin Smitty Smith – all coming together in a fluidly soulful style that's really great. Farmer's work on flugelhorn seems even more inventive than ever – and titles include "Bloodcount", "Johnny Come Lately", "Isfahan", "Raincheck", and "Upper Manhattan Medical Group". CD features a bonus track – "Daydream". CD

A tremendous comeback for the Art Farmer/Benny Golson Jazztet – recording here in the mid 80s with original members Farmer, Golson, and Curtis Fuller – plus tremendous rhythm support from the trio of Mickey Tucker, Ray Drummon, and Marvin Smitty Smith! The session has less of the tightly snapping groove that was the initial Jazztet calling card in the 60s – and comes across with some of the warmer, more chromatic tones that showed up on the group's last few recordings – and even more so in Art Farmer's work for many years to come. Tracks are all longish, and filled with many interesting twists and turns – and overall the album recalls the brilliant economy of Farmer's best work from the period, with some of the subtle soul that made Golson a player to keep an ear on strongly during the 80s. Titles include "From Dream To Dream", "Back To The City", "Vas Simeon", "Write Soon", and "Without Delay/Time Speaks". LP, Vinyl record album

A great quintet date – featuring mostly players who were part of the postwar scene on LA's Central Avenue – Art Farmer on trumpet, Frank Morgan on alto, and Lou Levy on piano – plus Eric Von Essen on bass and Albert Tootie Heath on drums! CD

Beautiful post-CTI work from Joe Farrell – a record that has him stretching out in the kind of long, flowing, and open tunes that have always been the strongest side of his work! The setting is mostly acoustic – save for a bit of electric piano on a few tracks – and players include Freddie Hubbard on trumpet, George Cables on piano, Tony Dumas on bass, and Peter Erskine on drums – hitting some nice chunky rhythms on some of the album's best tracks, and keeping up the funky undercurrent that we always love in Farrell's work. Farrell himself plays tenor, soprano, and flute – and titles include "Sonic Text", "If I Knew Where You're At", "Sweet Rita Suite", "When You're Awake", and "The Jazz Crunch". LP, Vinyl record album

A US album, but with work by Brit jazz greats like Tubby Hayes and Ronnie Scott on tenor, Dizzy Reece on trumpet, and Phil Seamen on drums! LP, Vinyl record album

Features Chico Freeman on tenor, Arthur Blythe on alto, George Cables on piano, Santi Debriano on bass, and Yoron Israel on drums! CD

With Chico on reeds, James Newton on flute, Kenny Kirkland on piano, Jay Hoggard on vibes, and Buster Williams on bass. Titles include "Freedom Swing Song", "Nia's Song Dance", "Morning Prayer", and "Look Up". LP, Vinyl record album

Just Russ Freeman on piano and Shelly Manne on drums! Tracks include "Prime Time", "Loose As A Goose", "Blue Monk", "On A Green Dolphin Street", and "Lullaby Of The Leaves". CD

Terry's vibes lead a group that fetaures Conte Candoli and Stu Williamson on trumpet, Bob Enevoldsen on trombone, Jack Schwartz on baritone, Bill Holman on tenor, and Joe Maini on alto! CD

With Frank Morgan on alto, Sonny Bravo on piano, Bobby Rodriguez on bass, Tito Puente and Orestes Vilato on timbales, Johnny Rodriguez on bongos and percussion, and Joe Madera on congas and percussion. LP, Vinyl record album

A large group session – tracks include "Song Is You", "Dancing In The Dark", "Blue Lou", "Fat Man", and "My Reverie". CD

A previously-unreleased live date from the late 50s! Featuring Al Porcino and Conte Candoli on trumpet, Bob Enevoldsen and Joe Cadena on trombone, Jack Schwartz on baritone sax, Bill Perkins and Bill Holman on tenor sax, Joe Maini and Charlie Kennedy on alto sax, Pete Jolly and Lou Levy on piano, Max Bennett and Buddy Clark on bass, and Mel Lewis on drums. Tracks include "The Fuzz", "Smoke Gets In Your Eyes", "Sometimes I'm Happy", and "Moonlight In Vermont". CD

With Terry Gibbs on vibes, Buddy DeFranco on clarinet, Frank Collett on piano, Andy Simpkins on bass and Jimmie Smith on drums. Tracks include "Samba Wazoo", "Austin Mood", "Body & Soul", "In A Mellow Tone", "Yesterdays" and "Blues For Brody". CD

A live performance with Pete Jolly on piano, Conte Candoli on trumpet, Bill Perkins on tenor, Mel Lewis on drums, and others! CD

With John Campbell II on piano, Todd Coolman on bass, and Gerry Gibbs on drums. LP, Vinyl record album

Features Joe Lovano on tenor sax, Dave Liebman on soprano sax, James Williams on piano, John Abercrombie on guitar, Ray Drummond on bass, and Adam Nussbaum on drums. CD

Tom Harrell on trumpet and flugelhorn, Bob Berg, David Liebman, and Joe Lovano on saxophones, Cheryl Pyle on flute, John Abercrombie on guitar and synthesizer, Dado Moroni, Danilo Perez, James Williams, and Niels Lan Doky on piano, Charlie Haden, Ray Drummond, and Reggie Johnson on bass, and Adam Nussbaum, Billy Hart, Paul Motian, and Bill Goodwin on drums. CD

A noteworthy session from pianist Hampton Hawes – a rare quartet session from the 50s (at a time when Hawes was mostly working in trios) – and also a three volume set of releases, all recorded in the space of a single night! The album is truly an All Night Session – as the material here was recorded during the night of November 12 and early morning hours of November 13, 1956 – with an unusual group that features Hawes on piano, Red Mitchell on bass, Bruz Freeman on drums, and Jim Hall on guitar! Hall's ringing tones are a perfect partner for Hawes' light approach to the keys – and the relaxed, extended nature of the recording has both players really opening up on some of the album's longish tracks. Titles on this volume include "Blues #4", "Blues #3", and "Do Nothin Till You Hear From Me". LP, Vinyl record album

A noteworthy session from pianist Hampton Hawes – a rare quartet session from the 50s (at a time when Hawes was mostly working in trios) – and also a three volume set of releases, all recorded in the space of a single night! The album is truly an All Night Session – as the material here was recorded during the night of November 12 and early morning hours of November 13, 1956 – with an unusual group that features Hawes on piano, Red Mitchell on bass, Bruz Freeman on drums, and Jim Hall on guitar! Hall's ringing tones are a perfect partner for Hawes' light approach to the keys – and the relaxed, extended nature of the recording has both players really opening up on some of the album's longish tracks. 2CD set features all 3 volumes of the recording – a total of 17 tracks that includes "Jordu", "Groovin High", "Takin Care", "Hampton's Pulpit", "I'll Remember April", "I Should Care", "Woody'N You", "Two Bass Hit", "Will You Still Be Mine", "April In Paris", "Blue 'N Boogie", "Blues #4", "Blues #3", and "Do Nothin Till You Hear From Me". CD

A noteworthy session from pianist Hampton Hawes – a rare quartet session from the 50s (at a time when Hawes was mostly working in trios) – and also a three volume set of releases, all recorded in the space of a single night! The album is truly an All Night Session – as the material here was recorded during the night of November 12 and early morning hours of November 13, 1956 – with an unusual group that features Hawes on piano, Red Mitchell on bass, Bruz Freeman on drums, and Jim Hall on guitar! Hall's ringing tones are a perfect partner for Hawes' light approach to the keys – and the relaxed, extended nature of the recording has both players really opening up on some of the album's longish tracks. 2CD set features all 3 volumes of the recording – a total of 17 tracks that includes "Jordu", "Groovin High", "Takin Care", "Hampton's Pulpit", "I'll Remember April", "I Should Care", "Woody'N You", "Two Bass Hit", "Will You Still Be Mine", "April In Paris", "Blue 'N Boogie", "Blues #4", "Blues #3", and "Do Nothin Till You Hear From Me". CD

A noteworthy session from pianist Hampton Hawes – a rare quartet session from the 50s (at a time when Hawes was mostly working in trios) – and also a three volume set of releases, all recorded in the space of a single night! The album is truly an All Night Session – as the material here was recorded during the night of November 12 and early morning hours of November 13, 1956 – with an unusual group that features Hawes on piano, Red Mitchell on bass, Bruz Freeman on drums, and Jim Hall on guitar! Hall's ringing tones are a perfect partner for Hawes' light approach to the keys – and the relaxed, extended nature of the recording has both players really opening up on some of the album's longish tracks. 2CD set features all 3 volumes of the recording – a total of 16 tracks that includes "Jordu", "Groovin High", "Takin Care", "Hampton's Pulpit", "I'll Remember April", "I Should Care", "Woody'N You", "Two Bass Hit", "Will You Still Be Mine", "April In Paris", "Blue 'N Boogie", "Blues #4", "Blues #3", and "Do Nothin Till You Hear From Me". CD

A rare slice of 50s work from pianist Hampton Hawes – material recorded during his initial strong run for Contemporary Records, but unissued until many years later! The album allows a chance to hear Hamp away from his better-known trio of the period – and some of the tracks feature Paul Chambers on bass and Lawrence Marable on drums, while others feature Scott LaFaro's bass and Frank Butler's drums. The work still has the incredible fluidity that Hawes brought to the table back in the 50s – a style that's inspired by the fast invention of bop, but colored with a warmer sense of lyricism overall. Titles include "Cheryl", "Blues For Jacque", "Bird Song", "Big Foot", "Ray's Idea", and "Stella By Starlight". CD

Hampton Hawes isn't exactly the first pianist we think of when it comes to bluesy lines in his music – but there's definitely a blue-tinged undercurrent to most of the work in this set – a well-chosen batch of tracks from Hamp's early years as a leader on Contemporary Records! The album features work in a variety of settings – with players who include Red Mitchell, Ray Brown, or Scott LaFaro on bass – Shelly Manne, Chuck Thompson, or Frank Butler on drums – and some occasional work by Harold Land on tenor sax, and either Jim Hall or Barney Kessel on guitar. Titles include "Blues The Most", "Hamp's Blues", "Hip", "Soul Sign Eight", "The Sermon", "For Real", "Hampton's Pulpit", "Takin Care", "Up Blues", and "Blues For Jacque". CD

Maybe the title's a bit overly-optimistic – but with a record like this, you can certainly imagine a world in which everybody does like Hampton Hawes! The record's the third in a legendary early run for the Contemporary label – trio material that broke Hawes out of the box and firmly put his rich talents on the keys at the top of the list of the best players in jazz. The sound's an amazing blend of jazz idioms at the time – with some of the flourishes of the Peterson or Jamal crowd, but often a tighter, almost rootsier bottom in the rhythms – a touch of the LA soul jazz sound, showing up here quite early! The trio features Red Mitchell on bass and Chuck Thompson on drums – and tracks are short, but showcase the open sound that Hawes was developing at the time. Titles include "Night In Tunisia", "Body & Soul", "Lover Come Back To Me", and the Hawes originals "The Sermon" and "Coolin The Blues". CD

Maybe the title's a bit overly-optimistic – but with a record like this, you can certainly imagine a world in which everybody does like Hampton Hawes! The record's the third in a legendary early run for the Contemporary label – trio material that broke Hawes out of the box and firmly put his rich talents on the keys at the top of the list of the best players in jazz. The sound's an amazing blend of jazz idioms at the time – with some of the flourishes of the Peterson or Jamal crowd, but often a tighter, almost rootsier bottom in the rhythms – a touch of the LA soul jazz sound, showing up here quite early! The trio features Red Mitchell on bass and Chuck Thompson on drums – and tracks are short, but showcase the open sound that Hawes was developing at the time. Titles include "Night In Tunisia", "Body & Soul", "Lover Come Back To Me", and the Hawes originals "The Sermon" and "Coolin The Blues". LP, Vinyl record album

Maybe the title's a bit overly-optimistic – but with a record like this, you can certainly imagine a world in which everybody does like Hampton Hawes! The record's the third in a legendary early run for the Contemporary label – trio material that broke Hawes out of the box and firmly put his rich talents on the keys at the top of the list of the best players in jazz. The sound's an amazing blend of jazz idioms at the time – with some of the flourishes of the Peterson or Jamal crowd, but often a tighter, almost rootsier bottom in the rhythms – a touch of the LA soul jazz sound, showing up here quite early! The trio features Red Mitchell on bass and Chuck Thompson on drums – and tracks are short, but showcase the open sound that Hawes was developing at the time. Titles include "Night In Tunisia", "Body & Soul", "Lover Come Back To Me", and the Hawes originals "The Sermon" and "Coolin The Blues". CD

'Leaping brilliance on the keys from a young Hampton Hawes – a player who makes this record bristle with excitement from the very first note! The format is simple, but the presentation here is breathtaking – a rock-solid trio performance that shows why Hawes was one of the greatest talents on the keys to come out of the west coast in the 50s – one with the fluidity of some of the better-known crossover players of the era, but the harder edge and sharper notes of the boppers, plus just a touch of nascent soul jazz in the rhythms. Backing is by Red Mitchell on bass and Chuck Thompson on drums – and titles include "Hamps Blues", "Carioca", "What Is This Thing Called Love", "Blues The Most", "Easy Living" and "All The Things You Are". CD

'Leaping brilliance on the keys from a young Hampton Hawes – a player who makes this record bristle with excitement from the very first note! The format is simple, but the presentation here is breathtaking – a rock-solid trio performance that shows why Hawes was one of the greatest talents on the keys to come out of the west coast in the 50s – one with the fluidity of some of the better-known crossover players of the era, but the harder edge and sharper notes of the boppers, plus just a touch of nascent soul jazz in the rhythms. Backing is by Red Mitchell on bass and Chuck Thompson on drums – and titles include "Hamps Blues", "Carioca", "What Is This Thing Called Love", "Blues The Most", "Easy Living" and "All The Things You Are". CD

Brilliant work from that hip 60s period when Hampton Hawes was really stretching out his sound – building on his already-great style of the 50s, by adding in more complex lines and unusual tones – creating far more depth in his music than ever before! In a way, there's a bit of a Bill Evans quality to the record – that contemplative love of sound that always made Bill's records so great. Yet Hawes is definitely his own man on the date too – because he also breaks out with bolder moments than Evans ever would have done – letting some of his older LA groove come into play with his newer ideas, in blend that holds us rapt with attention throughout. Rhythm players are great too – Chuck Israels on bass and Donald Bailey on drums – and titles include "The Girl From Ipanema", "Dear Heart", "Rhonda", "Chim Chim Cheree", and "Days Of Wine & Roses". LP, Vinyl record album

Hampton Hawes on piano, with Leroy Vinnegar on bass and Stan Levey on drums. CD

The darkly brooding image of Hampton Hawes on the front cover of this one is a real standout in the mostly-sweet cover lineup of the Contemporary label – but it's also a great indication of the sound of the record, which is something different than most of its contemporaries! Hawes is working here at his top-shelf early best – stepping around the keys of the piano with a sense of grace and spaciousness – but also a hard-hitting, highly rhythmic mode on the left – a bit soul jazz at times, mixing earthy elements with the sweeter, lyrical moments in his solos. Rhythm is by the team of Red Mitchell and Chuck Thompson – and titles include "Yesterdays", "Blues For Jacque", Stella By Starlight", "Steeplechase", "Round Midnight", "Autumn In New York" and "Section Blues". CD

The complete sessions by the best-known early version of The Hampton Hawes Trio – one that featured Red Mitchell on bass and Chuck Thompson on drums, heard here on the group's first three albums for the Contemporary label! The Hawes approach to the keys was a very popular one at the time – a mix of bop invention and older-styled phrasing – played mostly over standards, but creative and inventive enough to put Hampton on a par with Oscar Peterson, Ahmad Jamal, and some of the other rising trio talents of the 50s. Most of the set's 35 tracks were done in studio mode – but the package also features 3 bonus live numbers from the Embers night club in 1956, plus 3 more bonus tracks from live LA recordings – featuring either Mel Lewis or Shelly Manne in the drum chair. Titles include "Hamp's Blues", "Feeling Fine", "I Got Rhythm", "Round Midnight", "Blues For Jacques", "Section Blues", "Yesterdays", "Carioca", "Just Squeeze Me", "Body & Soul", "Coolin The Blues", "Walkin", and "The Champ". CD

We love Joe Henderson's 70s sides, and though this is reaching the end of the decade, it still smokes. Joe sounds great, with his raw edge still intact, playing nice far reaching solos that never leave the pocket. The set opens with "Y Todavia La Quiero", a nice groover with a feel like an uptempo "Love Supreme" set to cook rather than open you up spiritually. Chick Corea, Tony Dumas and Peter Erskine are the band, though Richard Davis and Tony Williams guest on two cuts. The set also includes one of our favorite Corea compositions, 'Yes, My Dear", plus the title track, "Crimson Lake" and "My One And Only Love". CD