Maybe one of the most famous records ever from master drummer Art Blakey – in part because of the cover, which has come to stand for the Blue Note aesthetic of the 60s! But despite that famous image, the music is more than worthy of attention – as the group features that unusual sextet lineup of the Jazz Messengers that made some amazing sounds in the mid 60s – Blakey on drums, Lee Morgan on trumpet, Wayne Shorter on tenor, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass! Morgan and Shorter are really growing and pushing themselves in different ways than their work with Blakey at the start of the 60s – and the addition of Fuller, and especially Walton, really gives the group this rounded warmth that shows a new level of maturity – a quality that comes through both in the playing, and the writing – as songs are all originals by Walton, Fuller, Morgan, and Shorter. Titles include "The Egyptian", "Sortie", "Calling Miss Khadija", and "Mr Jin". LP, Vinyl record album

An early gem from trumpeter Tom Browne – a set that not only firmly established Browne as one of the best young players of his generation, but which also paved the way for a whole new direction for jazz funk in the 80s! The record is a perfect example of how great the mix of R&B rhythms and jazz fusion instrumentation could be – groovy enough to capture a whole new audience from the soul market, but still more than respectful of the solo talents of the leader – but all without any attempt at smooth jazz commercialism at all! There's some great hard funk moments on the set – and Browne approaches the music in a way that's nicely different than Donald Byrd or Freddie Hubbard, two older players who first helped forge this sound in the 70s – and whose path Tom's clearly taking, but with new directions of his own. There's almost more of a street-worthy vibe to the set – quite a surprise if you only know later records on the GRP label – and the arrangements are by Tom, Weldon Irvine, Lesette Wilson, and Dave Grusin. Titles include the funky classic "Funkin' For Jamaica", plus "Her Silent Smile", "Moon Rise", "Nocturne", "Forever More", and "Weak In The Knees". LP, Vinyl record album

Great rare 50s material by Blakey – an early 80s issue of outtakes from the Hard Bop LP, plus some sides recorded shortly afterwards, with a slight line-up change! The group is one of the earliest incarnations of the Jazz Messengers, featuring Donald Byrd and Hank Mobley in the front line, and Doug Watkins and Horace Silver playing rhythm alongside Blakey, blowing hard on four burning sides worthy of the title of the LP they were left off of – "Late Show","Ill Wind", "Weird-O" and an alternate take of "Carol's Interlude". The remainder of the album trades in Kenny Drew, Ira Sullivan and Wilbur Ware for "Lil' T" and "The New Message", and there's a "Gershwin Medley" featuring an altogether different lineup of the Messengers. LP, Vinyl record album

One of the best Dave Brubeck albums from later years – and one of the hippest! The record is noteworthy for its pairing of Anthony Braxton and Lee Konitz – the former a rising star at the time, influenced strongly by the latter in his roots – showcased here in some rare moments of Braxton straight-aheadness! Brubeck's contribution is heard most strongly on the album's extended trio "Jimmy Van Huesen Medley" – played by Dave with Jack Six on bass and Alan Dawson on drums. But we're most partial to the saxophone tunes – Konitz playing a spare duet with Brubeck on "Don't Get Around Much Anymore", soloing with the group on "Like Someone In Love", duetting with Braxton on "All The Things You Are" – and stepping back to let Anthony play with Dave on a version of "In Your Own Sweet Way". Really great stuff throughout – and a unique Brubeck moment! LP, Vinyl record album

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". LP, Vinyl record album

A seminal set of work from the Blue Note scene of the 60s – a record that's not just noteworthy for its role in helping return tenorist Dexter Gordon to the spotlight, but also for the fantastic work of pianist Sonny Clark in the quartet! Sonny's in wonderful form throughout – and seems to be even more relaxed and inventive than in the company of some of the other horn players he'd work with on Blue Note – and that's saying a lot, given the company he would keep! Gordon's solos are confident and mature, but deeply personal too – and the rest of the group features Butch Warren on bass and the great Billy Higgins on drums – a percussionist whose sense of looseness and imagination really matches that of Dex. Titles include "Where Are You", "Three O'Clock In The Morning", "Cheese Cake", "Second Balcony Jump", and "Love For Sale". 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. Titles on this volume include "Blues #4", "Blues #3", and "Do Nothin Till You Hear From Me". LP, Vinyl record album

No bebop here, despite what you might guess from the title – and instead an album of much freer lines and wider musical vision, captured with Keith Jarrett's famous group of the 70s! Jarrett plays a bit of soprano sax alongside his piano, and the rest of the quartet features Dewey Redman on tenor and musette, Charlie Haden on bass, and Paul Motian on drums and percussion – all in a mode that's somewhat quieter and not as earthy as their early 70s sides together, but still filled with the great sense of interplay that made the group a noteworthy one. Titles include "Pyramids Moving", "Mushi Mushi", "Silence", "Gotta Get Some Sleep", and "Blackberry Winter". LP, Vinyl record album

A bit of an obscure session, but the first of John Lewis' works for a larger jazz orchestra – recorded with a lineup that includes larger strings and woodwinds next to rhythm backing by Percy Heath and Connie Kay of the MJQ! The tracks are all longer originals arranged by Lewis – except for one track orchestrated by Gunther Schuller – and the album's especially noteworthy for its extensive solo work by British baritone saxophonist Ronnie Ross, a player who's been one of the great under-discovered sides of the European scene of the late 50s and 1960s for years – and who really steps out here in some wonderful moments. The only other major soloist on the set is flute player Gerry Weinkopf – who provides a nice lighter tone next to that of Ross. Titles include "Midsommer", "The Queen's Fancy", "Cortege", "Three Windows", "England's Carol", and "Two Degrees East Three Degrees West". LP, Vinyl record album

Two excellent Bryant sets, recorded for Prestige, though he's more well known for his Cadet sides. The first disc of the set is a very striking album – one of Bryant's most noteworthy of the time! The album features Ray playing solo piano – quite unusual for the period, as most piano jazz records, especially his, were at least cut in a trio format. Ray's wonderfully unfettered here – hitting grooves with a level of expression and sophistication that far surpasses most of his other records. The intimate time on the keys never gets hokey or overindulgent – but it does let Ray open up and show a side that we've rarely heard on wax. Titles include "Stocking Feet", "Blues #3", "Joy", "Me & The Blues", and "My Blues". The Ray Bryant Trio is another wonderful early side, featuring Ike Isaacs and Specs Wright in a trio alongside Bryant, performing sparkling renditions of standards and a couple originals, that are still infused with his bluesy groove. Titles include "Golden Earrings", "Angel Eyes", "Blues Changes", "Splittin'", "Django", "The Thrill Is Gone", "Daahoud" and "Sonar". LP, Vinyl record album

A hell of a record from the LA scene of the mid 70s – recorded by a quartet of musicians who'd gotten their start during the early bop years of the city, and who kept the flame burning brightly with great records like this! The set's noteworthy not just for a rare appearance as a leader by tight drummer Frank Butler, but also for some tremendous tenor from Jack Montrose – a musician who sounds even more powerful and expressive here than on his records from the 50s – with an open tone, and plenty of space to display a sense of imagination on his solos that he never had before! The great Dolo Coker helps keep things swinging on piano, and Monty Budwig turns out some very powerful work on bass – on titles that include the long title track "The Stepper", plus "Au Prive", "Urbane", and "Captain Kidd". LP, Vinyl record album

Groundbreaking early work from pianist Chick Corea – a set of unissued material that's very different than much of what he'd record during his later, more successful years! The set's especially noteworthy in that it features the amazing pairing of Chick and AACM reed genius Anthony Braxton – working together here during the short space of time when they were together in the group Circle, and really making some sublime sounds together! Some of the tracks feature a trio – Chick on piano, Braxton on clarinets and alto, and Dave Holland on guitar, cello, and bass – and some feature the full Circle lineup, with the addition of Barry Altschul on drums and percussion. The package also features some other unique early sides – a trio track with Altschul and Holland, and a few more trio tracks with Miroslav Vitous on bass and Roy Haynes on drums – equally groundbreaking, but in a different sort of way. Titles include "Duet for Bass & Piano", "Bossa", "Gemini", "Starp", "Chimes", "Danse For Clarinet & Piano", and "Samba Yanta". LP, Vinyl record album

A rare early trio set from Jim Hall – especially noteworthy because Jim rarely worked in the format as a leader! 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". LP, Vinyl record album

Kind of a gimmicky session, but a great one nonetheless! It was Leonard Feather who first thought of rounding up all the "Jones" in jazz he could find, bringing them together for this unique date for the Period label – but fortunately, the quality of the work and strength of the players goes way past the goofy strategy of the date! The record's an especially great chance to hear Thad Jones in small group mode – blowing with that sweet, warm tone that we love in his Blue Note work, captured here in a slightly more informal setting. Also noteworthy is the piano of Jimmy Jones, the drums of Jo Jones, and the flugelhorn playing of Quincy Jones, who appears on 3 of the album's 9 tracks. Titles include "No Other Love", "The Jones Bash", "Jones Beach", "You've Changed", "Montego Bay", and "Salute To The Blue Bird". LP, Vinyl record album

The sweet and the raw – the trumpet of Harry Sweets Edison and the tenor of Eddie Lockjaw Davis – brought together here in a standout small group session for Pablo! The set's got an unusual element in that it features some electric bass from Harvey Newmark – who plays in an otherwise acoustic setting, but gives the tunes maybe this light little bounce – a hint of funk at times, with a rolling element that makes the whole thing a bit different than just a rehash of the old days. Also noteworthy is pianist Dolo Coker, who plays mostly acoustic piano – with that pointed tone that was always such a unique approach – and who also handles a bit of Fender Rhodes, but in a completely different way. Even when Newmark's playing acoustic bass, he's still got a great round tone that really drives the set – and the group's completed by the excellent Jimmie Smith on drums. Titles include "Simply Sweets", "Feelings", "Opus Funk", "Lax", "Miz Kitty's Blues", and "One For The Count". LP, Vinyl record album

A rare early trio session from bassist Richard Evans – known much more famously for his late 60s soul and jazz arrangements at Chess! The set's not only unique for it's exposure of Evans as a jazz artist, but it also marks one of the first appearances of pianist Jack Wilson – still a part of the Chicago scene at the time of this album, but already playing with the fluid lyricism we love so much from his 60s LA recordings! Wilson's piano is a really key part of the record, and he works a groove that's simply sublime – filled with lots of flowing, gliding touches on the top of the keys, but also coming across with enough of a bottom to give the record plenty of soul! The drummer in the group is Robert Barry, another noteworthy south sider at the time – and titles include "Consu", "The Preacher", "Trees", "Vera", "Should I", and "Daybreak". Nice cover, too, with a young Evans sitting in front of a globe! LP, Vinyl record album

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

A killer album that stands as a wonderful complement to Ike Quebec's classic LP sessions for Blue Note – and a set that's even more noteworthy for a rare early appearance of keyboardist Earl Van Dyke! Earl's best known for later famous work at Motown – but here, he plays some great mellow Hammond – really laying back nicely, alongside Quebec's soulful tenor – in a group that also features Willie Jones on guitar, Sam Jones on bass, and Wilbert Hogan on drums. The tunes here were all originally recorded as potential singles for Quebec, but most weren't issued by Blue Note at the time – and they're pulled together here as a really well-crafted album that's essential listening if you're a fan of the tremendous tenorist! Titles include "Intermezzo", "With A Song In My Heart", "How Long Has This Been Going On", "What Is There To Say", "All The Way", and "But Not For Me". LP, Vinyl record album

A real standout set from the 80s years of trumpeter Woody Shaw – a solidly burning live set that blows away most of his studio work from the time! The album's noteworthy first of all for the presence of Bobby Hutcherson on vibes – whose soulful spiritual approach of the period dovetails nicely with the strongly righteous tone of Shaw's horn – but the rest of the group is great too, and benefits from extremely strong bass work from Stafford James, tight drums from Tony Reedus, spiraling piano lines from Mulgrew Miller, and some bold lines on trombone from a young Steve Turre! Tracks are all quite long – really flowing with an open, soulful sort of energy that really puts Shaw at the top of his power, and almost urges Hutcherson onto new heights in the process. Titles include "To Kill A Brick", "Apex", "Orange Crescent", and "All The Things You Are". LP, Vinyl record album

A record that definitely lives up to its title – reminding us not only that Johnny Hammond Smith is one hell of an organist, but also a great leader with a really unique feel for a groove! The set's noteworthy not just for Johnny's own work on Hammond, but also for the presence of a young Houston Person – blowing tenor here in a way that's breathtaking right from the start – a bold, soulful tone that's a perfect fit for the group – which also includes trumpet from Johnny Williams and guitar from Eddie McFadden. The set includes a lot of tasty originals by Johnny – like "Cyra", "Lambert's Lounge", "Departure", and "Opus 2" – and already shows the way that Hammond was complicating his groove from that of other players of the time! LP, Vinyl record album

A classic "discovery" of tenor saxophonist Von Freeman – one that was already relatively late in his career, but a key appearance on Atlantic under the auspices of Roland Kirk! The setting here is as loose and laidback as Von needs to really do his thing – backing by a trio that features fellow Chicagoan John Young on piano, plus Sam Jones on bass and Jimmy Cobb on drums – all hanging back nicely to let Freeman dominate the set on tenor. The album's noteworthy for its inclusion of a few original tunes by Von – "White Sand", "Portrait Of John Young", "Doin It Right Now", "Brother George", and "Catnap" – all of which mark a nice contrast from some of the more traditional standards that show up on other Freeman albums of the 70s. LP, Vinyl record album

The Modern Jazz Quartet with a very noteworthy addition – the great Sonny Rollins, whose work on this record really makes it a cut above the usual MJQ outing for Atlantic! As on the quartet's previous Music Inn album with Jimmy Giuffre, the addition of a reed player really inflects their trademark sound with a new range of sounds and feelings – and Rollins himself cuts back on the hardbop influences, and shows some great restraint in matching some of the group's more modern modes. Sonny only plays on 2 of the album's 6 tracks – but that's enough to open it up nicely – and on other numbers, the MJQ begin in their usual mellower mode, but then seem to step things up with more boppish inflections, almost anticipating Rollins' arrival on the last 2 numbers. Sonny plays on the tunes "Bag's Groove" and "Night In Tunisia" – and other titles include "Midsommer", "Festival Sketch", "Yardbird Suite", and an opening medley. LP, Vinyl record album

A really rare look at the scene in Basel, Switzerland in the mid 60s – a combination of modern jazz and older styles served up here by a few different groups! Perhaps the most noteworthy combo on the record is Modern Jazz Group Basel – a quintet that features work from latter bassist Isla Eckinger on trombone, with Andy Scherrer on tenor, Urs Ramseyer on piano, Louis Mermet on bass, and Peter Scmidlin on drums. Other combos include The Svannah Junkmen and South Street Saloon Sweepers – plus the Chester's Tea Pot Combo, a quartet with tenor from Chester Gill. LP, Vinyl record album