A very swingin, very groovy early album from Quincy – one that's clearly in the big band mode, but handled with soulful touches that really set it apart from the genre! The band is a great one all the way through – and the album features solos by Zoot Sims, Jerome Richardson, Phil Woods, Clark Terry, and Harry Edison. Tracks are very often in a soul jazz mode – arranged by Quincy and Melba Liston – and featuring versions of some of the best jazz compositions of the time. Titles include "Moanin", "I Remember Clifford", "Along Came Betty", and "Whisper Not". CD

One of the most wonderfully lyrical records ever cut for Blue Note – and a shimmering early showcase for the genius of trumpeter Thad Jones! Jones is maybe best remembered for his work in bigger groups, but at the start of his career he's a lyrical genius – as you'll hear on this sublime session that also features tremendous tenor from Billy Mitchell – a player who was also often lost in larger groups, but who really shines wonderfully here next to Thad! The pair are perfect together, and move seamlessly through the session, trading solos with incomparable ease – yet never getting too perfect, and never lacking the humanity that makes a record like this so great. Barry Harris plays some wonderful piano – and the tracks include "If I Love Again", "Thedia", "If Someone Had Told Me", and "April In Paris". CD features 2 bonus tracks – "I've Got A Crush On You" and "Something To Remember You By". CD

An ambitious little set from Christian McBride – one that brings together 3CDs of music recorded over 2 nights of performance – all in a mode that shows McBride picking up plenty of funky touches! The group here features Geoffrey Keezer on keyboards, Ron Blake on saxes, and Terreon Gully on drums – really hitting the kit with a pounding intensity to match McBride's pulsating work on both acoustic and electric basses – jamming here a lot strongly than we remember from other studio sides. The expanded package is presented (amazingly) at the same price as a regular CD – and offers plenty of long tracks to really hear this great band stretch out in a space that's nicely between conventional jazz and some of the looser modes of the jamband underground. Guest appearances include Charlie Hunter, DJ Logic, Scratch, Eric Krasno, and Jason Moran – and titles include "Say Something", "Clerow's Flipped", "Lejos De Usted", "Sonic Tonic", "Hibiscus", "Sitting On A Cloud", "Mwandishi Outcome Jam", "Lower East Side", "See Jam Hear Jam Feel Jam", "E Jam", and "D Shuffle Jam". Lots of jams! CD

A searing live set by Charles Mingus – a double-length performance recorded in Antibes during his classic years for Atlantic Records, but not issued by the label until many years later! The album's a great extrapolation of the sound that Mingus had forged on sessions for Columbia, Atlantic, and Candid – the latter label especially, as the tunes here are all quite long, and really put a lot of emphasis on the solo voices of the players in the group. Given that those players include Ted Curson on trumpet, Booker Ervin on tenor, and Eric Dolphy on alto sax, the sound here is proud and loud throughout – with plenty of fire from all three horns! Bud Powell makes a guest appearance on the set – and titles include "Prayer For Passive Resistance", "What Love", "I'll Remember April", "Folk Forms 1", and "Wednesday Night Prayer Meeting". CD

One of the hardest to find of the early Lee Morgan albums on Blue Note – and a very lyrical batch of hardbop tracks, played with a slightly exotic flair! Morgan's group on the date features melodic modernists Benny Golson on tenor and Gigi Gryce on alto sax – both of whom push Morgan past his youthful bop approach into more sensitive areas – especially Golson, who wrote and arranged the tunes on the date with a sublime mix of hardbop and deeper musical ideals! Rhythm is from the trio of Wynton Kelly on piano, Paul Chambers on bass, and Charlie Persip on drums – and titles include a great reading of Golson's "I Remember Clifford", plus four other originals by Benny – "Hasaan's Dream", "Domingo", "Mesabi Chant", and "Tip Toeing". CD

One of the hardest to find of the early Lee Morgan albums on Blue Note – and a very lyrical batch of hardbop tracks, played with a slightly exotic flair! Morgan's group on the date features melodic modernists Benny Golson on tenor and Gigi Gryce on alto sax – both of whom push Morgan past his youthful bop approach into more sensitive areas – especially Golson, who wrote and arranged the tunes on the date with a sublime mix of hardbop and deeper musical ideals! Rhythm is from the trio of Wynton Kelly on piano, Paul Chambers on bass, and Charlie Persip on drums – and titles include a great reading of Golson's "I Remember Clifford", plus four other originals by Benny – "Hasaan's Dream", "Domingo", "Mesabi Chant", and "Tip Toeing". CD features a bonus alternate take. CD

A gem of a session from the European expatriot scene of the postwar years – not really a tribute to Cannonball Adderley, but a rare meeting of Bud Powell and Don Byas in the studio, produced by Cannonball in Paris in 1961! The record has a tremendous amount of fire and focus – especially on the part of Powell, who could sometimes falter in a European setting – and although Byas' horn might seem a contrasting choice for Bud, he really burns with a lot of energy here – arcing, soaring, and turning with lines that show that his talents hadn't dimmed at all out of the American limelight. As always with his few productions from the time, Cannonball shows a great deal of sensitivity and patience with the players – probably a key factor of the success of the set. Also noteworthy is the rest of the group – which includes Idrees Sulieman on trumpet, Pierre Michelot on bass, and Kenny Clarke on drums. Titles include "Jeannine", "Just One Of Those Things", "All The Things You Are", "I Remember Clifford", and "Jackie My Little Cat". CD

An excellent live set from Dutch vocalist Rita Reys – one of the coolest voices on the continent during the postwar years, and equally well-skilled at singing in English as her American contemporaries! The backing on the set is by the Pim Jacobs trio, with a guest appearance by Kenny Clarke on drums – and the titles are a strong mix of jazz numbers and standards – all done with a lightly dancing quality that's really great. Reys was easily one of the best European singers to pick up on American jazz modes at the time – and this album's a perfect example of the strength of her talents! Titles include "Speak Low", "What's New", "I Remember Clifford", "Poor Butterfly", "Autumn Leaves", and "I Get A Kick Out Of You". (Vocalists, Jazz) CD

A lost gem from Buddy – recorded in the years between his more famous work for Verve in the 50s, and his later 60s comeback as the hard-swinging leader of a big band! The album's a really unusual one for Buddy, in that it really plays around a lot with the rhythms in the tunes – not just using the "blues" phrasing that you might expect from the title, but also hitting bits of lighter, Latiny styles – as well as some slightly modal moments that emerge from longer solo drum passages by Rich. Part of the album's strength is the players – as Buddy's working here with Mike Mainieri on vibes, Sam Most on flute, and Rolf Ericson on trumpet – as well as the unusual rhythm team of Johnny Morris on piano and Wyatt Ruther on bass, neither of whom we really know. Tracks include "Caravan", "Blow'n The Blues Away", "BR Blues", "Late Date", and "I Remember Clifford". CD

Pianist Renee Rosnes joins The Drummonds group of drummer Billy Drummond and bassist Ray – bringing her sweetly swinging style on the keys into play with the pair's spacious approach to rhythm! There's an open, contemplative quality to this record that we really like a lot – one that approaches the familiar tunes with a bit of pause at times – pulling them apart, contemplating the components, then rolling forward with confidence into a more lively approach to the tune. We don't remember Renee ever sounding this good on other records – and titles include "Never Let Me Go", "My One & Only Love", "Stally By Starlight", "Gone With The Wind", "Angel Eyes", and "A Beautiful Friendship". CD

Wonderful work from Zoot Sims – recorded live in Las Vegas in the mid 70s, and captured with an open-ended feel that features plenty of room for solos! Sims really dominates the record – stepping out front of the rhythm section and blowing some incredibly imaginative lines that get past the shorter mode of his studio sessions. There's a feel here that almost reminds us of Sonny Stitt at his best – Zoot blowing in a relaxedly creative mode that flows out with near-perfect choices in tone and phrasing throughout. Most tracks push the 10 minute mark, and the performance features 6 well-recorded numbers that include Zoot on soprano sax on "Flower Waltz", and back on tenor for the tracks "It Had To Be You", "Thumbs Up", "Emily", "I'll Remember April", and "If I Should Lose You". CD

A well crafted set of tunes – both modern and soulful, in keeping with the rich talents of James Spaulding! The album sports a stupid title, but it's actually a thoughtful batch of tracks dedicated to African American achievement and expression – featuring Spaulding on alto sax and flute, in a group with Monte Croft on vibes, Mulgrew Miller on piano, Ray Mantilla on percussion, and Ron Carter on bass. Tracks are longish, and in a number of soulful modes – and titles include "Remember There's Hope", "Blue Hue", "Bold Steps", and "In Flight Out". CD also features 2 bonus tracks – "I Have You" and "Barbados". CD

A helluva great CD – one that brings together both volumes of the legendary Night At Boomers live dates on Muse Records from the 70s! The core material is a great little session of soul jazz – and very much in a classic mode, but with touches of the Strata East sound of the 70s. Although Blue Note and Prestige had seemed to abandon straighter soul jazz by the early 70s, Muse was cranking out some nice sides with older players of the 60s scene. This set features Cedar Walton's crack trio with Sam Jones and Louis Hayes, joined by tenorist Clifford Jordan, who was blossoming into a whole new player during the decade. Titles include "Holy Land", "Down In Brazil", "Cheryl", "Naima", "I'll Remember April", "All The Way", and "Bleeker Street Theme". CD

One of the smartest moves Phil Woods ever made was to move to Paris in 1968 and pick up a European rhythm section that featured George Gruntz, Henri Texier, and Daniel Humair. At the time, the idea of a European rhythm section might have been considered suicide by some folks – but for Woods, it was a liberating move that allowed him to expand his sound tremendously. With the help of these three players – all loose modernists who still knew how to swing – Woods was able to craft some incredible tunes, long flowing numbers that featured his amazing tone stretching out in kind of a post-Coltrane sort of mode. This live set is one of the group's best recordings, and features extended versions of tracks that include "Capricci Cavaleschi", "I Remember Bird", "Ad Infinitum", and "Riot". CD

An incredible meeting of talents – both American and European jazz musicians coming together at a festival that must have been one hell of a event – certainly more exciting than just about any jazz festival we've ever attended in our lifetime! Unlike other festival recordings, this isn't just any sort of rehash of standards, done by all-star groups – and instead showcases some of the best modern jazz talents on both sides of the Atlantic in the mid 60s – all trying to outdo each other with their sense of originality and creativity – stretching out on material that definitely equals their studio recordings of the time, and which may well even show them in a more adventurous mode! The recording quality is excellent – and both the sharpness of the music and the presentation recall some of the best early MPS/Saba Records material of the 60s – which is where we'd definitely rank these gems. This first volume is a bit more inside than the second – and features material that includes "Mobile" and "Plakate" by Albert Mangelsdorff, "Guarachi Garo" by Klaus Doldinger, "Piece For Two" by Don Menza, "Blues In F" by Hans Koller, "Jahrgang 37" and "Nordlicht" by Horst Jankowski with Helmut Brandt, "Warm Up & Swing" and "Jet Set" by Erwin Lehn, "I Remember Clifford" by Benny Bailey, "Salute To Miles" by Max Gregor, "Friday Blues" by Wolfgang Schluter, and "Gemini Waltz" by Rolf Kuhn and Klaus Doldinger. CD

A sweet little quartet session from the mid 50s – recorded in Paris, with backing by Gerard Gustin on piano, Jimmy Bond on bass, and Bert Dahlander on drums. Chet's playing in a simple open-ended style – working some lyrical magic on a series of standards that include "I'll Remember April", "Tenderly", "Lover Man", "Summertime", and "You Go To My Head". The album's as great as any of his US work of the time – and it's long overdue for reissue! CD

An excellent live set by the Jazz Messengers – recorded in Paris in 1958, but with a hard heavy groove that's right up there with their best Blue Note work. The group at this time – Blakey, Bobby Timmons, Lee Morgan, Benny Golson, and Jymie Merritt – plays hard, heavy, and straight ahead, with no other interference from outside players – and the track list is a batch of classic Jazz Messenger standards, stretched out a bit longer than usual, with plenty of solo space! Titles include "Moanin", "Justice", "Whisper Not", "Blues March", and "I Remember Clifford". CD

One of the hipper Lester Bowie sides from the 90s, but still cut very much in the horn-heavy groove of his Brass Fantasy years! The set's a live one, recorded in Switzerland in 1992 – and the group features Bowie at the head of an all-brass lineup of trumpets, French horn, tuba, and trombones – plus drums by Vinnie Johnson and percussion by Famoudou Don Moye. As with lots of the Bowie work of the time, there's a number of playful themes running through the set – as the Brass Fantasy sound is applied to a variety of stylistic settings. Titles include "Night Time", "For Louis", "Strange Fruit", "Remember The Time", "Black Or White", "Night Life", "Siesta For The Fiesta", and "The Great Pretender". CD

An extended live session from the team of Clifford Brown and Max Roach – recorded together at the Cotton Club in Cleveland at the end of May in 1956 – over the course of three nights of performance that are all represented in this overstuffed set! The group here is a classic one – with Brown on trumpet, Roach on drums, Sonny Rollins on tenor, Richie Powell on piano, and George Morrow on bass – an ensemble that's been famously documented on record by Emarcy, but which is heard here in a more relaxed, rougher-edged mode – not just because of the slightly amateur sound quality on the CDs, but also because of the open-ended, club-styled performance by the group. What the date lacks in polish, it more than makes up for in edge – especially from Rollins, who's really beginning to stretch out during these years. Titles include a 23 minute take on "Get Happy", a 14 minute "Untitled Blues", a 13 minute "Delilah", a 16 minute "Jordu", an 18 minute "Nice Work If You Can Get It", a 19 minute version of "I'll Remember April", and a 10 minute take on "Daahoud" – plus versions of "Lover Man", "Take The A Train", "Valse Hot", "Lover", and "What's New". CD also features 3 bonus tracks – the same group broadcast from Town Casino in Buffalo in February of 1956 – on "Round Midnight", "Daahoud", and "The Blues Walk". CD

A complete issue of a groundbreaking late 50s performance by Ornette Coleman – some of which has been released on the French album Fabulous Paul Bley Quintet, and other parts on albums under Ornette's name! The quality of the performance is amazing – some of the freshest jazz recorded in LA at the time, but still somewhat more inside than Coleman's work of the decade to come – a key transitional moment from Ornette, played by a group that features Don Cherry on trumpet, Charlie Haden on bass, and Billy Higgins on drums – plus a young Paul Bley on piano, who makes for a very different rhythmic conception than some of the Coleman quartet albums of a year or two later! Given Bley's approach to the piano, even at this point, the sound is still quite different than most of what had come before – almost in the territory of some of Eric Dolphy's early albums for New Jazz. Titles include "Free", "The Blessing", "When Will The Blues Leave", "Ramblin", "Crossroads", "How Deep Is The Ocean", "Klactoveesedstene", and "I Remember Harlem". CD

Nothing childish here – as the album's a beautiful set of short, spare numbers from Chick Corea – a perfect reminder that he could still maintain a subtle approach to his music, even after years of more dramatic electric sides! The bulk of the album features short "Children's Songs", numbered 1 to 20 – played by Chick in spare, swirling ways that are mighty nice – a much more sensitive Chick Corea than we remember, dancing a nice balance between lyricism and sentimentality, yet without any of the too-popular trappings of some of his 80s contemporaries in the solo piano mode. The CD also features one slightly longer track – "Addendum" – which has Corea's piano with violin and cello. CD

Wonderful work by Dolphy – as essential to his catalog as any of his albums on Prestige from the same time! Although Dolphy broke plenty of musical barriers in the studio, to our ears, it was always in a live setting that he sounded best – freely exploring the kind of space his playing opened up, hitting notes that were more soulful and spiritual than many that he ever recorded on his studio sides. This set is a perfect example of that trend – as Dolphy's working here with a strong straight jazz combo, one that includes the great Benny Bailey on trumpet, in a set that features familiar tunes, turned into haunting explorations of Dolphy's new jazz idiom. One of the highlights is an incredible 15 minute version of Randy Weston's "Hi Fly", with Dolphy doing great work on flute – and other tunes include "Hot House", "Geewee", "When Lights Are Low", "I'll Remember April", and "The Meeting". CD

Fantastic early work from Gil Evans – emerging here in this early session as an already far-thinking modernist. The tracks are shorter and less ambitious than some of Evans' work on Impulse, but the group is excellent – and even in a shorter format, the conception of the work still contains plenty of rich new ideas. Players include Louis Mucci, John Carisi, Steve Lacy, Willie Ruff, Paul Chambers, Nick Stabulis, and "Zeke Tolin" on alto, who is certainly a more famous player under a fake name. Titles include "Ella Speed", "Big Stuff", "Jambangle", "Nobody's Heart", and "Remember". CD

A great little return to form for Tal Farlow – his first recording in a decade, and a rare Prestige side that features a groovy quartet with John Scully on piano, Jack Six on bass and Alan Dawson on drums. There's a different vibe here than Tal's work for Verve – a bit more open, but still with that great Farlow tone that was always one of the greatest jazz guitar sounds of the 50s. The tracks include "Straight No Chaser", "Darn That Dream", "Summertime", "Sometime Ago", "I'll Remember April", "My Romance", and "Crazy, She Calls Me". Farlow did not record again until 1976. CD

A rare German session by Hampton Hawes – recorded in trio format with backing by two of Europe's best rhythm players, bassist Eberhard Weber and drummer Klaus Weiss – and in a groove that's really wonderful! There's a great tone to the record that's evident from the very first note – a warmth, and almost bell-like quality that we don't always remember from other Hawes albums, and which makes this one really special. Backing is by Eberhard Weber on bass and Klaus Weiss on drums – and both players are heard here in rapt reverence to Hampton's work on the keys, but still with enough of a force to color in the record with their presence, especially in the case of Weber's bass. Titles include some tasty originals – like "Hamp's Blues", "Rhythm", "Sonora", and "Black Forest Blues" – plus versions of "Autumn Leaves" and "I'm All Smiles" CD

If you've only ever thought of Gary McFarland as the composer of groovy bossa nova-oriented work, you owe it to yourself to check this one out – as McFarland wrote and arranged the whole thing, with a modernist approach that's very sympathetic with the piano of a young Steve Kuhn. The session mixes Kuhn's piano with strings and woodwinds – never too stale or academic, but definitely different than McFarland's usual work, with odd little twists and turns that are really beautiful, a mixture of warm, memory, and the love of life that would show up in Gary's most brilliant moments. Kuhn is fantastic too – not nearly as overindulgent as in later years – fresh on the keys with the spirit of a young Bill Evans, but also willing to work more with the larger format of the record. Titles include "Remember When", "Traffic Patterns", "Open Highway", and "Childhood Dreams". CD

Includes the songs "The First Step", "On The Road Again", "Looking Back", "Remember", "Togetherness", "Bone Blue", and "Landscapes". CD

One of Charles Mingus' greatest albums from the early days – and a record that shows him making the shift into the groundbreaking style that would characterize his excellent work of the late 50s! The group features Mal Waldon on piano, George Barrow on tenor, Eddie Bert on trombone, and Max Roach on drums on two tracks (Willie Jones handles the kit on other cuts) – all coming together with a jagged sense of power that really shows Mingus taking charge – pushing the group strongly in a "jazz workshop" sort of mode! The album features a key reading of the seminal "Haitian Fight Song", a masterful reworking of the tracks "A Foggy Day" and "I'll Remember April" – and the tunes "Lady Bird", "Love Chant", and the very cool "Drums". CD

A searing live set by Charles Mingus – a double-length performance recorded in Antibes during his classic years for Atlantic Records, but not issued by the label until many years later! The album's a great extrapolation of the sound that Mingus had forged on sessions for Columbia, Atlantic, and Candid – the latter label especially, as the tunes here are all quite long, and really put a lot of emphasis on the solo voices of the players in the group. Given that those players include Ted Curson on trumpet, Booker Ervin on tenor, and Eric Dolphy on alto sax, the sound here is proud and loud throughout – with plenty of fire from all three horns! Bud Powell makes a guest appearance on the set – and titles include "Prayer For Passive Resistance", "What Love", "I'll Remember April", "Folk Forms 1", and "Wednesday Night Prayer Meeting". CD

A double-length live set from the legendary Modern Jazz Quartet – recorded in Scandinavia in 1960, almost as a summation of the group's growing genius in the 50s! The tunes are a mix of John Lewis and Milt Jackson originals, plus other songs all given the wonderful MJQ twist – distilled into a sublime blend of piano, vibes, bass, and drums – all delivered with a sense of class, but never too much polish. The album is live, but still has that sophisticated composure that made the group so unique at the time – and the whole thing's a perfect complement to their famous studio albums on Atlantic! This edition collects both of the original LP's in their entirety – titles include "Django", "Bluesology", "La Ronde", "Festival Sketch", "Vendome", "Odds Against Tomorrow", "I Should Care", "I Remember Clifford", "Pyramid", "Cylinder", and "Bags' Groove". CD

A classic solo piano album from Thelonious Monk – recorded live in San Francisco, and maybe one of his best albums ever in the format! There's a special sort of quality that makes Monk's solo work so different from his trio, quartet, and larger group music – this real understanding of the piano, and a personal sense of sonic shading, even when covering some of his familiar compositions – maybe a bit like the way that Sun Ra's solo piano is also so distinct. Most of the tunes here are Monk originals or standards that Thelonious has played before at least a few times on record – but the solo setting almost has him pulling the tunes apart slowly – contemplating their components, then stepping through them with new inspiration as he puts them back together. Titles include "Blue Monk", "Pannonica", "Remember", "Reflections", "Bluehawk", "Everything Happens To Me", and "Round Lights". CD

Tracks include "April In Paris", "Cherry Pink And Apple Blossom White", "Some Other Spring", "You Must Believe In Spring", "I'll Remember April", and "April Showers". (Vocalists, Jazz) CD

Stunning live work from the great Pharoah Sanders – a set that's right up there with his best for the Teresa label in the 80s, but which also has some of the bite of his later Impulse material too! Tracks are long and modal – that groove that always seems to unlock the most soulful, mystical currents in Sanders' tenor – and the group is superb, with this beautiful work on bass from the young Curtis Lundy, plus John Hicks on piano and Idris Muhammad on drums – the latter of whom is in that looser mode he reopened in the 80s, and very different than his 70s funk years. Tracks are all nice and long – and titles include "Dr Pitt", "Greetings To Idris", "You Gotta Have Freedom", "It's Easy To Remember", and "The Creator Has A Masterplan". CD

A sweet double-header from Johnny Hammond Smith – 2 early albums on a single CD! All Soul is one of the hardest to find albums by Johnny Hammond Smith – a sweet set of easy-going grooves, with a wonderful late night soul jazz approach! The feel here is very much in the mode of work by Jimmy Smith from the time – grooving by a rhythm group that includes Thornel Schwartz on guitar and Leo Stevens on drums, and freely styled solos by Johnny over the top! Titles include "Easy Like", "All Soul", "Secret Love", and "Sweet Cookies". That Good Feelin features some very early work as a leader from Hammond hero Johnny Hammond Smith! There's a slight R&B undercurrent on some of the cuts – that formative organ sound before the smoother styles of the 60s soul jazz years – and Smith's got help from Thornel Schwartz on guitar, who'd played famously with another Smith – Jimmy – plus George Tucker on bass and Leo Stevens on drums. Titles include the originals "Puddin" and "That Good Feelin" – plus "My Funny Valentine", "I'll Remember April", and "Billie's Bounce". CD

Loads of classics – 16 tracks, including "This Bitter Earth", "What A Difference A Day Makes", "Easy Living", "Keepin Out Of Mischief Now", "Manhattan", "Make Me A Present Of You", "I Remember Clifford", "Unforgettable", "All Of Me", and "Backwater Blues". (Vocalists, Jazz) CD

Gary Bartz plays live at Birdland – and the results are quite different than both other famous albums at the club, and most of Gary's other work of the time! There's a tightly swinging feel to most of the set – a style that's more hardbop than we remember from Gary's roots, but which still has all the open, exploratory tones we've always loved in Bartz's horn. The group features Claudio Roditi on trumpet, John Hicks on piano, Ray Drummond on bass, and Al Foster on drums – a rhythm section who really bring a lot to the set, and provide just the sort of leaping, loping energy to drive the horn players strongly. 4 of the album's 5 tracks are over 10 minutes long – and titles include "Cousins", "It's Easy To Remember", "The Night Has A Thousand Eyes", "West 42nd Street", and "Speak Low". CD

Includes 89 orchestra and small group tracks, plus a thick booklet with detailed notes. Tracks include "I'll Remember April", "St. Louis Blues", "Taxi War Dance", "Pound Cake", "Easy Does It", Stay On It", "Rock-A-Bye Basie", and "Ebony Rhapsody". CD

Tracks include "Myna Bird Blues", "Ode To A Kudu", "Take Five", "I Remember Wes", "Good King Bad", and "Willow Weep For Me" – 12 cuts in all. CD

About as classic as you can get for the Brown/Roach group – recorded at Basin Street with a group that includes Richie Powell on piano, Sonny Rollins on tenor, and George Morrow on bass. Tracks are tight and in that firey hardbop mode the pair pioneered – and titles include "Gertrude's Bounce", "Powell's Prances", "Time", "The Scene Is Clean", and "I'll Remember April". Most notable is the work by Powell on the record – as Bud's brother really shines here, turning out some great original compositions, and arranging the group with tight precision! Plus, the CD reissue features 4 bonus tracks – including alternates of some tunes on the record, and a few breakdowns. CD

One of the more obscure reissues to come out on the great Rearward imprint – but an excellent lost session of piano jazz, recorded in Milan in 1969! Pianist Oscar Rocchi has a sweet soulful approach to the piano, with a tone that's almost slightly funky at times – partly in reflection to the strong bass work by Cornelio Dattoli, and tight drumming by Gianni Cazzola. The record almost reminds us of some of the excellent 70s Japanese trio recordings by American pianists – and the whole set has a nice warm quality that you wouldn't expect from a record titled Abstraction! Includes a version of Edu Lobo's "Cancao Do Amanhecer", plus "FBM Blues", "Moment Of Joy", "Ivory Isle", and "Remember Coltrane". CD

An extremely great album from Eddie Costa – one of the best of the all-great Mode sessions from 1957! In what is an odd meeting of players, especially for the label, Eddie's piano and vibes meet up with Art Farmer's trumpet, the alto of Phil Woods, bass of Teddy Kotick, and drums of Paul Motian – all of whom work together with the fluidity and soulfulness of some of the best Prestige sessions of the time. The horn work is tremendous – and it's hard to remember Woods sounding this great on other albums of the time, really cutting an edge next to Farmer's trumpet – which also has an incredible tone for the album, right up there with his Farmer's Market record! Titles include "Big Ben", "Blues Plus Eight", "Stretch In F", and "Get Out Of The Road". CD

Wonderful work by Dolphy – as essential to his catalog as any of his albums on Prestige from the same time! Although Dolphy broke plenty of musical barriers in the studio, to our ears, it was always in a live setting that he sounded best – freely exploring the kind of space his playing opened up, hitting notes that were more soulful and spiritual than many that he ever recorded on his studio sides. This set is a perfect example of that trend – as Dolphy's working here with a strong straight jazz combo, one that includes the great Benny Bailey on trumpet, in a set that features familiar tunes, turned into haunting explorations of Dolphy's new jazz idiom. One of the highlights is an incredible 15 minute version of Randy Weston's "Hi Fly", with Dolphy doing great work on flute – and other tunes include "Hot House", "Geewee", "When Lights Are Low", "I'll Remember April", and "The Meeting". CD

Early work by Kenny Dorham as a leader – a Riverside session recorded in two "contrasting" moods that both perfectly show his young talents on the trumpet! Side one is a bit more in a hardbop mode – with two long lyrical tracks ("Falling In Love With Love" and "I'll Remember April") – recorded with a quintet that features Sonny Rollins on tenor, Hank Jones on piano, Oscar Pettiford on bass, and Max Roach on drums – with plenty of space for all players to solo nicely! Side two features the same group, but also adds in some work on harp by Betty Glamman – an unusual player, but one who works well in the setting – and really helps to emphasize the sweeter sounds in Kenny's horn! Titles on that side include "La Villa", "Larue", and "My Old Flame". CD

A really raw set from reedman Charles Gayle – a 90s recording, but done with the ferocity of some of the hardest-hitting 60s sides from ESP Records! Gayle is completely unbridled – stretching out on very long tracks with tremendous free runs on tenor and bass clarinet – driven by bold energy from Michael Bisio on bass and Michael Wimberly on drums – both players who can come on strong, yet really seem to be there to let Gayle lead the way! Charles has a sharp edge and hard tone that's definitely a legacy of Albert Ayler – obviously heard on the album's "Homage To Albert Ayler" – as well as on other tracks that include "Alpha", "I Remember Dolphy", "In The Name Of The Father", and "Book Of Revelation". CD

Oft-overlooked album that's actually one of Getz's most far-reaching of the 60s! Recorded in the year before he got caught up in his bossa pop frenzy, the record shows Getz as a darkly toned modernist, weaving out complex solos over the album's extended suite "Focus", written and arranged by the great Eddie Sauter, with whom Stan worked on the Mickey One soundtrack. The album's a surprisingly refreshing one, and shows yet another complex side of Getz's endlessly compelling career. Titles include "I'm Late, I'm Late", "I Remember When", "Pan", "Her", "Night Rider", and "Once Upon A Time", plus bonus single versions of "I'm Late, I'm Late" and "I Remember When"! CD

One of the crowning moments of genius from pianist Robert Glasper – a set recorded early in his career, and one that set the tone for all the greatness to come! Glasper's already a completely unique musician on his instrument – moving with these flowing waves of sound that turned out to be an inspiration for so many other younger musicians to come, but which here still sound the best in the hands of the originator – rolling forward with this soulful energy that's very different than anything that came before, and which still never fails to blow us away! The core trio features Vincente Archer on bass and Damion Reid on drums – and the set features guest vocals from Bilal on "Chant" and "I Remember" – and guest tenor from Mark Turner on "Riot" and "Rise & Shine". Other tracks include "Enoch's Meditation", "Canvas", "Portrait Of An Angel", "North Portland", and "Jelly's Da Beener". CD

A killer set of hardbop tracks that shows what a great tenorist Benny Golson was during the late 50s – paired for the CD version with an obscure French session cut in 1958! The Benny Golson And The Philadelphians session features Benny on tenor with other Philly-mates, like Lee Morgan, Ray Bryant, Percy Heath, and Philly Joe Jones – and the set's got all the tightness of a late 50s Jazz Messengers set. Golson contributed 3 tracks to the set – his classic "Stablemates", plus "Blues On My Mind" and "Thursday's Theme". A nice one that you might overlook, but a great set with a lot of warmth and imagination! The French session has a looser Parisian rhythm section is more than compensated for by the presence of a young firey Bobby Timmons on piano. Titles on that one include Golson's "I Remember Clifford" and "Blues March", plus Ray Bryant's "Calgary", and a version of Timmons' classic "Moanin". CD

Dexter Gordon blows back home in the US, but still with the long, open solo style of his European work for Steeplechase! The group features Barry Harris on piano, Sam Jones on bass, and Al Foster on drums – a great rhythm section – and titles include "Apple Jump", "A La Modal", and "I'll Remember April". CD

Titles include "Cry Me A River", "Suite", "The Thrill Is Gone", and "I'll Remember April". CD

A rare early trio set from Jim Hall – especially noteworthy because Jim rarely worked as a leader in the format! The album's got Hall working with Carl Perkins on piano and Red Mitchell on bass – in a mode that slightly recalls some of Barney Kessel's mid 50s recordings over at Contemporary Records, but which also has that airier style that was Hall's first great calling card on his instrument. Some of the best cuts really have the notes hanging in air with incredible grace and a very subtle sense of swing – and titles include "This Is Always", "Look For The Silver Lining", "Stella By Starlight", "Deep In A Dream", "Seven Come Eleven", and "Thanks For The Memory". CD presents the full, unabridged version of the album – with the track "This Is Always", and full master takes for each number. CD also features 5 bonus tracks from a John Lewis album on Pacific Jazz – "Two Degrees East Two Degrees West", "I Should Care", "Skylark", "Two Lyric Pieces", and "I Remember Clifford". 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

Possibly the rarest album ever from vocalist Johnny Holiday – and that's saying a heck of a lot, given the rarity of his albums! Holiday's a really overlooked talent from the west coast scene of the 50s – a singer with a great sense of depth and darkness, and one who sounds especially great here. At some level, Johnny's got an approach that's similar to some of the less flamboyant male vocalists of his time – such as Matt Dennis – but he's also got a somewhat fuller voice and raspier tone, a sensibility that's quite human and personal – and which almost makes us feel like we're hearing Holiday speak the lyrics of most of these tunes as private musings, locked up in some corner tavern long after closing time! There's a nicely saloony feel to the whole set – a style that's not the sleepy vocalist with trio mode heard often with female singers, but which also isn't the hard-swinging Sinatra-reaching mode of other males contemporaries of Holiday. Titles include "You Don't Know What Love Is", "No One Ever Tells You", "Too Late Now", "I Remember You", "My Love Left Town", "It's Easy To Remember", and "The Things We Did Last Summer". CD also features the bonus track "It Might As Well Be Spring". (Vocalists, Jazz) CD

The long-overdue reissue of some of Ahmad Jamal's first recordings – early sides for the Okeh and Columbia labels, all tunes that would go on to have a huge influence on the use of the piano in jazz! All tracks on the set were recorded in the early 50s with Jamal's great drumless trio that featured Ray Crawford on guitar and either Eddie Calhoun or Israel Crosby on bass – the latter of whom is tremendous here, working as a player who really helped set his instrument free from its traditional role in jazz. The trio's blend of guitar, bass, and piano is completely unique – extremely inventive at both a rhythmic and melodic level, as each instrument often fills both roles equally well – dancing around with an internal groove that emerges outwardly as an especially fluid approach to the tune. If you've never heard Jamal at his early best like this, the CD's gotta be one of the best places we can think of to start – as it features 21 titles in all, all beautifully remastered with impeccable sound that goes far beyond even our original albums! Titles include "Poinciana", "Black Beauty", "Something To Remember You By", "Pavanne", "Perfida", "Rica Pulpa", "Old Devil Moon", "Autumn Leaves", "Ahmad's Blues", and "Aki & Ukthay". CD

A pivotal album in the career of Lee Konitz – and one that shows him really stretching out, past his tightly arranged style of the 50s! Lee's working here in a fairly free trio setting – backed by only Sonny Dallas on bass and Elvin Jones on drums. Jones plays loosely and openly on the kit, taking Lee through some great extended tracks that bristle with a sharp and modern energy that stands in great contrast to the cooler Konitz sound of the 50s – into a style that almost matches the energy of Sonny Rollins' classic Live At The Village Vanguard recordings for Blue Note. Titles include "All Of Me", "You'd Be So Nice To Come Home To" and "I'll Remember April". CD

Two 60s jazz albums from Atlantic Records – back to back in a single set! Les McCann leads off with Much Les – a groovy set of late 60s soul jazz piano tunes – played by Les McCann in a swinging style that pre-dates his 70s funk work – and which also features him playing in a strictly instrumental setting! The core of the material is by Les' trio with Leroy Vinnegar on bass – but most tracks feature an expanded sound, either by adding Willie Bobo and Victor Pantoja on Latin percussion, or by backing the group with off-beat arrangements by the great William Fischer, whose talents had graced some of the best Atlantic jazz albums at the time! Titles include "Burnin Coal", "Doin That Thing", "Roberta", and a groovy version of "Love For Sale". On Catbird Seat, the usual duo of Dwike Mitchell and Willie Ruff is augmented by drummer Charlie Smith – in a mode that makes the set one of their strongest of the 60s! The format is essentially piano trio jazz – but handled with the pyrotechnic touches that the pair were known for – and with Smith's strong and light touch on the kit, the album at times has the feel of some Ahmad Jamal work for Argo. Includes a great version of "Con Alma", plus the tracks "The Catbird Seat", "So In Love", and "I'll Remember April". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

Two different concert recordings from the great Charles Mingus – recorded with the space of more than a decade between them, and showing the continual evolution of his genius! The first 2CDs bring together a sublime recording by German Radio in Bremen from 1964 – work that's from that important European tour that included the soon-to-be late Eric Dolphy on alto, flute, and bass clarinet – as part of a fiery sextet that also includes Johnny Coles on trumpet, Clifford Jordan on tenor, and Jaki Byard on piano. All players are fantastic – getting that push with Mingus that could often make soloists even more dynamic with the leader at the helm than on their own recordings – as you'll hear on the extended concert readings of "Hope So Eric", "Fables Of Faubus", "Parkeriania", and "Meditations On Integration" – plus a shorter solo by Byard. Mingus is at the helm of a different, but equally great group on the 1975 concert – with Jack Walrath on trumpet, George Adams on tenor, Don Pullen on piano, and Dannie Richmond on drums (as on just about every Mingus recording!) The politics of the 64 performance are still in place, with a slight shift – and they're mixed with some of the late Mingus' love of Duke Ellington, who gets a tribute here in a few spots, but with some great touches by Charles. Most tracks are nice and long – and titles include "Remember Rockefeller At Attica", "Devil Blues", "Duke Ellington's Sound Of Love", "Black Bat & Poles", "For Harry Carney", "Sue's Changes", and "Free Cell Block F Tis Nazi USA". CD

An incredible album from Lee Morgan – one of his last records ever, and a set that shows a whole new promise in his music – one that was sadly unfulfilled as a result of his tragic early death. The songs hare are all quite long – stretched out live numbers, but never in a way that's overindulgent (especially in comparison to some of Lee's Blue Note contemporaries) – and put together with a level of creativity and imagination that's simply stunning! Lee's in a beautifully searching mode here – stretching out on his solos, and hitting spaces we never would have imagined in his work even a few short years before. The rest of the group's great too – and include Bennie Maupin on flute, tenor, and bass clarinet, Harold Mabern on piano, Jymie Merritt on bass, and Mickey Roker on drums. Titles include "The Beehive", "Neophilia", "Nommo", and "Absolutions". Plus, this 3CD set features triple the amount of material on the original set – which was already an extended one – 8 more bonus cuts that include "Aon", "Yunjanna", "416 East 10th Street", "I Remember Britt", and "Peyote". CD

Includes the songs "You Go To My Head", "Ill Wind", "All The Way", "Since I Fell For You", "I'll Never Be The Same", "Twilight Mist", "What Now My Love", "Lover Man", and "I Remember Clifford". CD

A jazz treasure chest – an extraordinary bounty of Bird on Verve! You get absolutely everything here, master takes, alternate takes, loads of previously unissued material, rehearsals, incomplete takes, you get it all! Sidemen include Benny Carter, Kenny Clarke, Miles Davis, Roy Eldridge, Gil Evans, Ella Fitzgerald, Dizzy Gillespie, Coleman Hawkins, Johnny Hodges, John Lewis, Machito, Charles Mingus, Thelonious Monk, Buddy Rich, Max Roach, Ben Webster and Lester Young. There's 177 (!!) tracks in all, so we can't list all the titles here, but some of them include "Blues For Norman", "The Bird", "Repetition", "No Noise", "Okiedoke", "The Opener", "Lester Leaps In", "Flyin' Home", "Perdido", "Everything Happens To Me", "April In Paris", "Summertime", "I Didn't Know What Time It Was", "Bloomdido", "Mohawk", "My Melancholy Baby", "Leapfrog", "East Of The Sun", "I'll Remember April", "Au Privave", "KC Blues", "Swedish Schnapps", "Estrellita", "Funky Blues", "Jam Blues", "I Get A Kick Out Of You", and "Love For Sale". CD

Tracks include "Honeysuckle Rose", "Let There Be Love", "Peace For South Africa", "Sushi", "I Remember You/A Child Is Born/Tenderly", "Sweet Georgia Brown", and "Blues For Big Scotia". CD

Interesting sides from Bud Powell – billed on the front as "his first new recordings since 1958", which isn't really the case, since he did cut some work while living in Paris. And even more interesting, the liner notes describe Powell as "back on the US jazz scene, cured of TB and fat as a Burgermeister" – completely hiding the troubles which still plagued him, and which would take him shortly after the time of this session! The material's maybe not prime work by Bud, but it's still pretty great – with more than a few nice moments on the solos – and backing by John Ore on bass, and JC Moses on drums – which keeps things moving at a nice pace. Titles include "I Remember Clifford", "Hallucinations", "If I Loved You", and "Green Dolphin Street". CD

Beautiful trio work from pianist Renee Rosnes – a set that sparkles with warmth and imagination, and which features wonderful support from drummer Lewis Nash and bassist Peer Washington! The trio's perfectly poised throughout, but never in staid ways – just always open to a new groove, and a newly fluid line – magically reforming themselves with a new sense of energy on each fresh track, and never failing to delight us as the set moves on! Renee's piano is as warm and lyrical as ever, but we're especially in love with the Washington/Nash rhythm team – as they push a cool groove on the set, one that makes Rosnes sound better than we remember on other recent dates. Titles include "Black Narcissus", "Night & Day", "Serenity", "Beatrice", "Recorda Me", and "Isotope". CD