Nice backing on most tracks by a small combo that features Oscar Peterson on piano and Herb Ellis on guitar – and a larger group on a few more, with Stan Getz, Coleman Hawkins, and Lester Young on tenors! Titles include "Stompin At The Savoy", "Goody Goody", "Ill Wind", and "Bewitched Bothered & Bewildered". CD

One of the rarest Lee Hazlewood albums, and one of the coolest, too – the set falls a bit later than some of his other work on the Swedish scene – and, like Cowboy In Sweden, it's also a soundtrack too – but the vibe is different than that one, and almost shows this maturation of Lee's style – as if he's absorbing even more unusual elements during his time overseas, and finding a way to keep growing his sound away from his American years in LA! All the Hazlewood craft for songs and nicely wry vocals is still very much in place – but there's also some nice shifts in the arrangements, too – deepening things some fuller elements at times, yet stepping back into tighter elements at others. Titles include "Soul's Island", "A House Safe For Tigers", "Our Little Boy Blue", "Sand Hill Anna & The Russian", "Absent Friends", and a nice remake of "The Nights"! CD

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A famous pairing of talents from the early 60s – Columbia Records giants Dave Brubeck and Tony Bennett, both recorded at a time when that label was at the forefront of jazz in the US – joined up for a special performance at the end of the set! The special performance was done at the Kennedy-era White House – and features an initial instrumental set from the Dave Brubeck Quartet – with completely amazing alto from Paul Desmond, especially on the album's long reading of "Nomad" – one of our favorite overlooked tunes by the the group at the time – plus versions of "Take Five", "Castillian Blues", and "Thank You". Tony Bennett then takes the stage with backings by the Ralph Sharon trio – on titles that include "Make Someone Happy", "One For My Baby", "I Left My Heart In San Francisco", and "Just In Time". But the real highlight of the set is when Bennett sings with backings from the Dave Brubeck Trio – in a mode that's both different from Tony's work with Bill Evans or Basie, and from Brubeck's work with singers like Jimmy Rushing or Carmen McRae! Titles from the Brubeck/Bennett lineup include "That Old Black Magic", "There Will Never Be Another You", "Lullaby Of Broadway", and "Chicago". CD

Ella gets nice backing on most tracks by a small combo that features Oscar Peterson on piano and Herb Ellis on guitar – and a larger group on a few more, with Stan Getz, Coleman Hawkins, and Lester Young on tenors! Titles include "Stompin At The Savoy", "Goody Goody", "Ill Wind", and "Bewitched Bothered & Bewildered". LP, Vinyl record album

One of the rarest Lee Hazlewood albums, and one of the coolest, too – the set falls a bit later than some of his other work on the Swedish scene – and, like Cowboy In Sweden, it's also a soundtrack too – but the vibe is different than that one, and almost shows this maturation of Lee's style – as if he's absorbing even more unusual elements during his time overseas, and finding a way to keep growing his sound away from his American years in LA! All the Hazlewood craft for songs and nicely wry vocals is still very much in place – but there's also some nice shifts in the arrangements, too – deepening things some fuller elements at times, yet stepping back into tighter elements at others. Titles include "Soul's Island", "A House Safe For Tigers", "Our Little Boy Blue", "Sand Hill Anna & The Russian", "Absent Friends", and a nice remake of "The Nights"! LP, Vinyl record album

Includes cuts pulled from radio transcriptions in 1938 through 1950, plus a Los Angeles concert in 1949. LP, Vinyl record album

A set that starts out sounding like one of the most old school, straight ahead records we've ever heard from trombonist Roswell Rudd – but which soon opens up to all the creative, compelling modes we've always loved in Rudd's music! The record's the result of recent work with vocalist Heather Masse – a hell of a singer who takes Roswell back to older eras of jazz in style, but in ways that are still touched with all the creative tones we've always loved in his work on trombone! The mix is a bit like some of Roswell's 70s album with Sheila Jordan – in the way the songs are familiar, the structure is mostly standard, but the whole thing's open to these amazing inflections that really keep things interesting. Masse really surprises us, too – as while she can sing straight some times, she can also open up with these modes that are both modern and inventive, but never in a way that ignores older jazz roots. The pair have a way of embracing decades of jazz history at once – a bit in the way that Jaki Byard was always able to do – and they work here alongside Rolf Sturn on guitar and Mark Helias on bass – on titles that include "Social Call", "I'm Goin Sane", "Winter Blues", "Con Alma", "Tova & Kyla Rain", and "Blackstrap Molasses/Old Devil Moon". (Jazz, Vocalists) CD

From its booze-soaked title cut, to its haunting selection of lonely ballads like "Midnight Sun" and "Stranger Called The Blues", this is one of the most fantastic vocal jazz albums of all time – and a record that we'd recommend instantly to anyone! June Christy has an incredibly icy tone on the record, filled with sorrow, regret, and loneliness – all of which are amplified even more deeply by Pete Rugolo's eerie, off-kilter arrangements. Titles include "Something Cool", "It Could Happen To You", "Lonely House", "I'm Thrilled", and "The Night We Called It A Day". Fantastic stuff! Stereo re-recording of the full LP – from the late 50s. LP, Vinyl record album

From its booze-soaked title cut, to its haunting selection of lonely ballads like "Midnight Sun" and "Stranger Called The Blues", this is one of the most fantastic vocal jazz albums of all time – and a record that we'd recommend instantly to anyone! June Christy has an incredibly icy tone on the record, filled with sorrow, regret, and loneliness – all of which are amplified even more deeply by Pete Rugolo's eerie, off-kilter arrangements. Titles include "Something Cool", "It Could Happen To You", "Lonely House", "I'm Thrilled", and "The Night We Called It A Day". Fantastic stuff! Original Mono recording – from 1953. LP, Vinyl record album

An incredible treasure from a lost vocal jazz genius – the little-known Bobby Cole, every bit as great a singer as he was a songwriter, very unusual for the time! Bobby was probably best remembered as the house pianist at Jillys, but at the time of this 1964 recording, he was poised to emerge as a serious vocalist with a rich talent for penning interesting and witty little tunes. The album's got Bobby singing in a style that's halfway between Matt Dennis and Mark Murphy – with the sophisticated talents of both in place, and perhaps a bit of the wit of Bob Dorough or Roy Kral. The original album features Bobby on piano and vocals, with only bass and drums behind him – and the CD features a bonus 6 tracks recorded in more recent years, with larger backings. The core album is completely brilliant – the kind of off-kilter vocal record we die for – and every track's a fresh original by Bobby! Titles include "You Can't Build A Life On A Look", "Heat", "You Could Hear A Pin Drop", "Change Of Scene", "A Perfect Day", "Elegy For Eve", and "Status Quo". CD

A lost early chapter in the career of Roberta Flack – material recorded during the sessions for her legendary First Take album, but unissued at the time – and presented here with an amazing demonstration of the depth of her young talents! All the genius of First Take is in place here – that groundbreaking territory between jazz and soul that set Roberta apart from the pack, right from the start – but there's also a wider range of currents going on – maybe some more jazz-based numbers, mixed with other soul-referenced titles too – a wider span that furthers the role that Flack plays as a bridge between the 60s innovations of Nina Simone and a host of others to follow. The group is just a trio – Flack on piano with Marshall Hawkins on bass and Bernard Sweetney on drums – but the tunes have a very wide-open vibe that's very visionary, and every bit as great as Roberta's debut! Titles include a stunning version of "Afro Blue", plus "It's Way Past Suppertime", "This Could Be The Start Of Something", "Groove Me", "To Sir With Love", "The Song Is Love", "Ain't No Mountain High Enough", "Nobody Knows You When You're Down & Out", "The House Song", and "Hush A Bye". (Soul, Vocalists) LP, Vinyl record album

A rare 60s meeting of groovy talents from both sides of the Atlantic – and a record that matches the trumpet of Dizzy Gillespie with the hiply swinging vocals of The Double Six Of Paris! The group were a wonderfully groovy precursor to the Swingle Singers – and sung in a scatting approach to jazz vocals that was very much in the tradition of Lambert, Hendricks, & Ross – but also drew inspiration from the earlier work of Eddie Jefferson, King Pleasure, and others. Their sound is great – much more 60s groovy than some other vocal groups – and pairing them with Dizzy gives this record an added punch that some of their other sessions are missing! Backing is small combo throughout – with either Bud Powell or Kenny Barron on piano, Kenny Clarke on drums, and James Moody on tenor – and with the presence of Diz, most of the material here is of bop orientation – taken at a fast and lively clip! Lalo Schifrin arranged the whole session too – and titles include "One Bass Hit", "Blue N Boogie", "Emanon", "Groovin High", "Ow", "The Champ", "Tin Tin Deo", "Hot House", and "Con Alma". (Jazz, Vocalists) LP, Vinyl record album

A rare 60s meeting of groovy talents from both sides of the Atlantic – and a record that matches the trumpet of Dizzy Gillespie with the hiply swinging vocals of The Double Six Of Paris! The group were a wonderfully groovy precursor to the Swingle Singers – and sung in a scatting approach to jazz vocals that was very much in the tradition of Lambert, Hendricks, & Ross – but also drew inspiration from the earlier work of Eddie Jefferson, King Pleasure, and others. Their sound is great – much more 60s groovy than some other vocal groups – and pairing them with Dizzy gives this record an added punch that some of their other sessions are missing! Backing is small combo throughout – with either Bud Powell or Kenny Barron on piano, Kenny Clarke on drums, and James Moody on tenor – and with the presence of Diz, most of the material here is of bop orientation – taken at a fast and lively clip! Lalo Schifrin arranged the whole session too – and titles include "One Bass Hit", "Blue N Boogie", "Emanon", "Groovin High", "Ow", "The Champ", "Tin Tin Deo", "Hot House", and "Con Alma". (Jazz, Vocalists) CD

A slightly unusual set by legendary jazz vocalist Johnny Hartman from the mid 70s. These sessions have him singing with smooth larger arrangements by Fred Norman – in a style that's verging on adult vocals, but has enough of a jazz swing to still please our ears – and some interesting titles that include "Suzanne", "When", "Starting Now", "That's What Makes A House A Home", "Ornery Little Critter", "I've Only Myself To Blame", "If I Could Only See You Again" and "Hello Mrs Jones". LP, Vinyl record album

Some of our favorite work ever from the mighty Lee Hazlewood – material recorded under his own name for Reprise Records – during a stretch when he was also producing for the label with Nancy Sinatra and Dean Martin! The 2CD set features 3 full albums, plus great bonus tracks too – and the assembled lot is as great of a tribute to Hazlewood's genius as we've ever seen! First up is The NSVIPs – a set that follows up the same sort of "story song" format that Lee laid down on his wonderful Trouble album for Mercury – but done here with themes that are a bit hipper, and more wry – in keeping with his Reprise persona. Next is Friday's Child, which has some of Hazlewood's most beautifully-penned tunes – tracks that mix the whimsy of his bigger hits with some great darker elements. Last up is the amazing Love & Other Crimes – one of our favorite albums of the 60s, magically recorded in Paris with a very unique sound – and a style that's a bit different than some of Hazlewood's other records. Titles include "First Street Blues", "I Had A Friend", "Everybody Calls Me Something", "Me & Charlie", "A Real Live Fool", "Hutchinson Jail", "By The Way", "Houston", "Morning Dew", "The House Song", "Love & Other Crimes", "Pour Man", and "Wait & See". Bonus tracks are great too – and include Hazlewood tracks "Ode To Billie Joe", "Rainbow Woman", "I Am You Are", and "Charlie Bill Nelson" – plus other gems that include "Just Bluesin" and "Houston" by Sanford Clark, "A Stranger In Town" by The Vanguards, "The Whisk" by The Whisk Kids, "Zapata" by Jack Nitzsche, "What Are We Gonna Do In 64" by The Wildcats, "Our Man Flint" by The Ring A Dings, and "This Town" by Duane Eddy. 55 tracks in all. CD

A record that's sometimes overlooked in the career of the legendary Eartha Kitt – a set that came out on MGM in the early 60s, after Kitt's initial rise to fame on RCA, and before taking off for a long stretch overseas! The set hints at the sound of that era a bit – and arrangements by Billy May and Bill Loose have this gently sophisticated style that fits the growing sophistication in Kitt's phrasing as she really develops her style. Songs follow the themes of her famous work – and titles include "Diamonds Are A Girl's Best Friend", "Good Little Girls", "Never On Sunday", "Always True To You In My Fashion", "La Dolce Vita", "All I Want Is All There Is & Then Some", and "It's So Nice To Have A Man Around The House". LP, Vinyl record album

Two albums from Peggy Lee on one CD. First up is I Like Men! – an obscure album of "guy" songs from the end of the 50s! There's a playful feel to the music that fits Lee's vocals very well – as do the bouncy arrangements from Jack Marshall, who turns out to be one of the best musical partners that Peggy could ever hope for! The set's got that nice jazzy groove that really makes Lee's return to Capitol Records so great – and titles include "Good For Nothing Joe", "Charley My Boy", "Jim", "Bill", and "It's So Nice To Have A Man Around the House". On Sugar 'N' Spice Peggy's sweet as sugar, but working here with a heck of a lot of spice – thanks to arranger Benny Carter, who brings in a wonderfully jazzy feel to the set! The album's one of Peggy's best from her comeback years at Capitol – and a prime example of the syncopated, slinking mode of arrangement that was the best 60s discovery for the Peggy Lee voice – and which allowed her to create a unique space for her own maturing sexuality in pop music. The whole thing's great, and avoids the cliches of some of the other Peggy Lee albums from the time. Titles include "I Believe In You", "Ain't That Love", "The Best Is Yet To Come", "The Sweetest Sounds", "Teach Me Tonight", "Tell All The World About You", and "Big Bad Bill". CD

Pretty darn amazing – and one of the campier vocal jazz albums on RCA from the late 50s! Lizabeth sings in a "guy crazy" mode that these days would really only be the province of drag acts – and it's compelling to hear a record like this, in which songs like "Men", "He is A Man", "Legalize My Name", and "It's So Nice To Have A Man Around The House" are taken at a relatively serious tone. Henri Rene handled the arrangements, and the record has a great version of "Can't Get Out Of This Mood" that begins with a cool monologue. Lizabeth is a real looker, too – and the photo on the front is practically worth the price of the record! CD

A classic album from Nina Simone's early period! The tracks feature prime work from Nina, caught at the point when she was turning her style from straight jazz into more of a folk-inspired soulful sound – filled with power, anger, and sheer raw emotion – played by a small combo of piano, bass, guitar, and drums, but in a way that opens up in so many different musical directions! There's a really strong genre-crossing approach at work here – and titles include "Rags & Old Iron", "I Love To Love", "Work Song", "No Good Man", "Gin House blues", "Memphis In June" and "Forbidden Fruit". LP, Vinyl record album

An overlooked gem from Mel – a great early album for Verve, one that's every bit as nice as his stellar work for the Bethlehem label! The set's got Mel singing with the Marty Paich orchestra – a good thing, too – as Marty's always been the best arranger for Mel's unique way of putting over a jazz vocal. Tunes are all pretty nicely swinging, and at times expand the sound a bit past Mel's earlier work – with titles that include "House Is Haunted By The Echo Of Your Last Goodbye", "Gloomy Sunday", "That Old Feeling", "I'm Gonna Laugh You Out Of My Life", "Nobody's Heart", "How Did She Look", and "Where Can I Go Without You". CD

Features Russell Malone on guitar and Paul Keller on bass – with Diana Krall on vocals and piano! CD

A simple title, but a classic album – arguably one of Kenny Rankin's biggest hits of the 70s, but every bit as great as his lesser-known work! Don Costa arranged the set, but the sound is still wonderfully intimate – with a focus on Kenny's vocals and acoustic guitar, steeped in folksy roots, but carried off with plenty of warmer, chromatic tones that have a great dose of jazz in the mix. The core group's a quartet, with electric piano and organ from Wendy Haas – and titles include the megahit "On And On", plus "House Of Gold", "Here's That Rainy Day", "Through The Eye Of The Eagle", "Make Believe", "I Love You", and "While My Guitar Gently Weeps". LP, Vinyl record album

An overlooked gem from Mel – a great early album for Verve, one that's every bit as nice as his stellar work for the Bethlehem label! The set's got Mel singing with the Marty Paich orchestra – a good thing, too – as Marty's always been the best arranger for Mel's unique way of putting over a jazz vocal. Tunes are all pretty nicely swinging, and at times expand the sound a bit past Mel's earlier work – with titles that include "House Is Haunted By The Echo Of Your Last Goodbye", "Gloomy Sunday", "That Old Feeling", "I'm Gonna Laugh You Out Of My Life", "Nobody's Heart", "How Did She Look", and "Where Can I Go Without You". CD

A fantastic 70s album from the great Sarah Vaughan – maybe one of her best small combo sessions of the decade – and a set that also makes room for some great instrumental contributions too! As you'd guess from the title, the group features the great Jimmy Rowles on piano – having a bit of time in the limelight at this point in his career, and graced with a relaxedly emotive style that's perfect for the similar qualities in Sarah's voice! Yet it's also the whole package on the set that makes things great – as Rowles group features wonderful work on bass from Monty Budwig, maybe some of his best performances on record – plus drums from Donald Bailey, tenor from Teddy Edwards, and trumpet from Al Aarons. These players never get in the way of Sarah, but do a true job of accompanying the singer, while inspiring her to her best with their own top talents – on titles that include "That Face", "Folks Who Live On The Hill", "A House Is Not A Home", "That Sunday That Summer", and "Morning Star". CD

From its booze-soaked title cut, to its haunting selection of lonely ballads like "Midnight Sun" and "Stranger Called The Blues", this is one of the most fantastic vocal jazz albums of all time – and a record that we'd recommend instantly to anyone! June Christy has an incredibly icy tone on the record, filled with sorrow, regret, and loneliness – all of which are amplified even more deeply by Pete Rugolo's eerie, off-kilter arrangements. Titles include "Something Cool", "It Could Happen To You", "Lonely House", and "I Should Care". This is the original 10" mono recording with 7 tracks – and a green and white cover that has June with eyes closed. LP, Vinyl record album