One of the only albums ever cut as a leader by soul jazz guitarist Ray Crawford – a contemporary of Grant Green and Wes Montgomery, but a player who's hardly ever gotten his due! This rare date was originally recorded for the short-lived Candid label back in 1961, but was only issued two decades later as part of the Candid revival – a fact that makes the album even more noteworthy! The set's got a really solid groove that reminds us a fair bit of Grant Green's best early 60s work for Blue Note – as Ray's playing in a tight, single-line format on most numbers – working with a very hip group that includes Johnny Coles on trumpet, Cecil Payne on baritone sax, Junior Mance on piano, Ben Tucker on bass, and Frankie Dunlop on drums. Tracks are all nice and long – very open, with plenty of solo space – and are all originals by Crawford as well. Titles include "Smooth Groove", "I Knew Prez", "Impossible", "Miss April", and "The Compendium Suite". Shoulda been a 60s classic – but at least we've finally gotten it released! CD

Lockjaw and Griff were a mighty team together – and their records from the 60s cook with incredible intensity. This great set was recorded at Minton's Playhouse in Harlem, on January 6, 1961 – as part of a marathon live session that was a big seller for Prestige. The group's incredible – a mixture of hardbop and moderism that's unstoppable – and all tracks are long, all with incredible two-tenor solo sections, plus some nice soulful piano from Junior Mance. Titles include "Bingo Domingo", "Straight No Chaser", "I'll Remember April", and "Light & Lovely". CD

A massive moment for Miles Davis – legendary live performances at both the Fillmore East and Fillmore West from 1970 – presented here in their entirety for the first time ever! Part of the record features Miles' work that appeared in edited form on the Miles Davis At Fillmore record – but issued here without the edits, so that you can really hear the group take off in unbridled, Bitches Brew-like energy – served up by a lineup that includes Steve Grossman on tenor and soprano sax, Chick Corea on Fender Rhodes, Keith Jarrett on organ, Dave Holland on bass, Jack DeJohnette on drums, and Airto on percussion and flute. The set then also includes material recorded in April at the Fillmore West – but all unissued tracks, and not the material that was on the Black Beauty album at all. These tracks feature a similar lineup, but without Keith Jarrett – on a few long tracks. The set separates out all the tunes with great clarity and better mastering than before – and adds 100 minutes to the Fillmore East set. Titles include "Directions", "The Mask", "It's About That Time", "Bitches Brew", "Spanish Key", "Sanctuary", "I Fall In Love Too Easily", "Footprints", "Paraphernalia", "Miles Runs The Voodoo Down", "Willie Nelson", and "The Theme". CD

2 lesser-known sides of Blossom Dearie – both recorded in Paris in the 50s! The first 8 tracks on the set are from a rare 10" session recorded in 1955 – one that features Blossom only at the piano, not singing, but swinging in a solid trio format. Tracks on that session include "The Boy Next Door", "Down In The Depths Of The 90th Floor", "April In Paris", and "Blue Moon". The other 4 tracks on the set are from a 45rpm ep by Blossom's famous vocal group, The Blue Stars. The ensemble featured vocalese performances by young singers that included Christine Legrand, Jeanine De Waleyne, and Fats Sadi – and was the virtual blueprint for later jazz vocal groups, like Les Double Six or The Swingle Singers. Titles from that group include "Toute Ma Joie", "Embrasse Moi Bien", and "Toute Ma Joie". 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

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

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

A surprisingly nice little record – a set in which Prestige Records collected together a number of unissued Eric Dolphy tracks after his death – but still a strong full album – as the record features music that's even a bit more far-reaching than some of the studio albums on the label! Dolphy plays a solo bass clarinet version of "God Bless The Child"; he plays with Booker Little and Mal Waldron on "Status Seeking"; he's on flute in a quartet with Jaki Byard on "April Fool"; and he plays with a pickup Danish rhythm section on an alternate take of "Don't Blame Me". 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

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 unique little record from vocalist Frank D'Rone – one that's got a very different approach than some of his more pop-oriented sets! The album's recorded live at San Francisco's legendary Hungry I – often a haven to beats and folkies, and a venue that seems to have brought out a whole new level of Frank's talents! D'Rone's singing here with much lighter accompaniment than usual – just a small rhythm section – but the key part of the set is that Frank's also accompanying himself on guitar, strumming along with his vocals in a way that's sometimes gentle, sometimes jazzy – and which reminds us a lot of similarly swinging sides by vocalist Eddie Hazell (not the P-Funk guitarist!) Given the early 60s date of the set, there's a nice flexibility here with rhythms – and Frank opens up with slight bossa, swinging, and syncopated sounds on a few numbers – and sounds even better on the gentler tracks, which really mostly feature just voice and guitar. Titles include "Tea For Two", "Nancy", "But Not For Me", "Teach Me Tonight", "I Am In Love", "Out Of This World", and "I'll Remember April". CD

Early genius from Kurt Elling – one of Blue Note's best vocal signings of the 90s, and a richly talented singer who's still not well understood by many audiences! The set's got Kurt doing a bit of everything he does great – completely transforming old standards like "Nature Boy" and "April In Paris"; coming up with new lyrics for harder jazz numbers, like Jimmy Heath's "Gingerbread Boy" or Donald Byrd's "Tanya Jean"; and working through compelling original material that includes "It's Just A Thing", "Endless", and "The Messenger". 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

Two of the biggest singers who ever worked for Verve Records – captured perfectly at the Newport Jazz Festival in 1957! Ella Fitzgerald steps out with a strong, lively groove on the first half of the set – swinging things with a looser, more upbeat quality than on some of her mellower Verve studio sets of the late 50s – really grooving it up with small combo backing from the trio of pianist Don Abney! Billie Holiday also gets some small combo backing too – a hip trio with Mal Waldron on piano, Joe Benjamin on bass, and Jo Jones on drums – often a bit more laidback than the group on Ella's sides, but in a great way that helps Holiday hit a very intimate sound, even before this large audience. Ella sings "This Can't Be Love", "Body & Soul", "April In Paris", "I Got A Crush On You", and "Airmail Special" – and Billie sings "Nice Work If You Can Get It", "What A Little Moonlight Can Do", "My Man", "Willow Weep For Me", and "Lady Sings The Blues". CD also features 3 more unissued bonus tracks by Ella – "Too Close For Comfort", "Lullaby Of Birdland", and "I'm Gonna Sit Right Down & Write Myself A Letter". And, added to all of this are 7 more tracks recorded by Carmen McRae at Newport, not issued by Verve in the 50s because Carmen was working for Decca! These sides feature trio backing too – from groups featuring Ray Bryant and Junior Mance on piano – on titles that include "Body & Soul", "Skyliner", "I'll Remember April", "Perdido", and "Love Is Here To Stay". CD

A legendary pairing of two classic postwar singers – each of whom were really finding their own sort of sound in the 50s, then found a way to make some real magic together on a record like this! Louis Armstrong was very much senior to the younger Ella Fitzgerald – but both had become such beautifully expressive singers, their voices here really ignite a special sort of energy that maybe even elevates the record past some of their solo sets of the time. Backings are in a nice small combo mode – with Armstrong on both trumpet and vocals – and Ella and Louis carry most of the set with their great vocal interplay – warm, personal, and pretty darn charming – in a mode that should be hokey, but comes across great, thanks to the quality of both vocalists! Titles include "April In Paris", "Can't We Be Friends", "Isn't This A Lovely Day", "Under A Blanket Of Blue", and "A Foggy Day". CD

A legendary pairing of two classic postwar singers – each of whom were really finding their own sort of sound in the 50s, then found a way to make some real magic together on a record like this! Louis Armstrong was very much senior to the younger Ella Fitzgerald – but both had become such beautifully expressive singers, their voices here really ignite a special sort of energy that maybe even elevates the record past some of their solo sets of the time. Backings are in a nice small combo mode – with Armstrong on both trumpet and vocals – and Ella and Louis carry most of the set with their great vocal interplay – warm, personal, and pretty darn charming – in a mode that should be hokey, but comes across great, thanks to the quality of both vocalists! Titles include "April In Paris", "Can't We Be Friends", "Isn't This A Lovely Day", "Under A Blanket Of Blue", and "A Foggy Day". CD

Ella Fitzgerald, recorded in a nice lean setting – with mostly just the piano of Oscar Peterson to back her up, plus a bit of extra bass from Ray Brown on a few of the album's tracks! We love Fitzgerald in this mode – which is quite a change from some of her more familiar 70s work, and really shows the singer in her best light possible – handling things right out front, with an inherent sense of swing that's completely sublime! Peterson is great here too – playing with some of those more ragged edges that you'll get on his spare sessions for Pablo – some nice bluesy undercurrents that really help shape the sound of the record. Titles include "Mean To Me", "April In Paris", "Street Of Dreams", "I Hear Music", "More Than You Know", and "Midnight Sun". CD

Ella Fitzgerald, recorded in a nice lean setting – with mostly just the piano of Oscar Peterson to back her up, plus a bit of extra bass from Ray Brown on a few of the album's tracks! We love Fitzgerald in this mode – which is quite a change from some of her more familiar 70s work, and really shows the singer in her best light possible – handling things right out front, with an inherent sense of swing that's completely sublime! Peterson is great here too – playing with some of those more ragged edges that you'll get on his spare sessions for Pablo – some nice bluesy undercurrents that really help shape the sound of the record. Titles include "Mean To Me", "April In Paris", "Street Of Dreams", "I Hear Music", "More Than You Know", and "Midnight Sun". CD

Ella Fitzgerald, recorded in a nice lean setting – with mostly just the piano of Oscar Peterson to back her up, plus a bit of extra bass from Ray Brown on a few of the album's tracks! We love Fitzgerald in this mode – which is quite a change from some of her more familiar 70s work, and really shows the singer in her best light possible – handling things right out front, with an inherent sense of swing that's completely sublime! Peterson is great here too – playing with some of those more ragged edges that you'll get on his spare sessions for Pablo – some nice bluesy undercurrents that really help shape the sound of the record. Titles include "Mean To Me", "April In Paris", "Street Of Dreams", "I Hear Music", "More Than You Know", and "Midnight Sun". CD features 4 bonus alternate takes, too! CD

A beautiful album that perfectly mixes both sides of Aretha Franklin's talents – the hard-edged soul singer who first flourished at Atlantic records in the late 60s, and the artist who was growing even more as a vocalist – really reaching out her wings to more sophisticated material! There's a balance here that makes the record one of the deepest that Franklin ever recorded for Atlantic – lots of larger Arif Mardin touches, but also some raw moments that really round things out – on titles that include Aretha's classic take on the Weldon Irvine/Nina Simone tune "Young Gifted & Black", the funky classic "Rock Steady", the wonderful mellow groover "Day Dreaming", the hit "Brand New Me", and the strangely compelling "First Snow In Kokomo" – plus other titles that include "All The King's Horses", "Oh Me Oh My", "Border Song", "Didn't I Blow Your Mind", "April Fools", "I've Been Loving You Too Long", and "The Long & Winding Road". CD

A beautiful version of one of Erroll Garner's best-selling albums ever – in a special oversized package that features the full unedited concert on two CDs, plus a third CD with the original edited album and special interview material too! The album's a famous live date recorded in the mid 50s – and a record that's as important to his catalog as the classic Misty! Garner's playing before an apparently large audience, but the recording quality is still nice and clear – a strong focus on his amazing work on the keys of the piano – filled with rhythmic invention at every turn, in a way that can only be described as Garner-esque, and which still leaves us breathless after all these years. Despite the oft-heard power of the record, it's still a great one – worthy of discovery even if it wasn't a hit, and still great even if it was. Rhythm is by Eddie Calhoun on bass and Denzil Best on drums – and the 3CD package was co-produced by pianist Geri Allen, with a total of 36 tracks that include "Teach Me Tonight", "I'll Remember April", "Autumn Leaves", "Red Top", "April In Paris", "They Can't Take That Away From Me", "Erroll's Theme", and "Where Or When". CD

One of Erroll Garner's best-selling albums ever – a famous live date recorded in the mid 50s – and a record that's as important to his catalog as the classic Misty! Garner's playing before an apparently large audience, but the recording quality is still nice and clear – a strong focus on his amazing work on the keys of the piano – filled with rhythmic invention at every turn, in a way that can only be described as Garner-esque, and which still leaves us breathless after all these years. Despite the oft-heard power of the record, it's still a great one – worthy of discovery even if it wasn't a hit. Rhythm is by Eddie Calhoun on bass and Denzil Best on drums – on tracks that include "Teach Me Tonight", "I'll Remember April", "Autumn Leaves", "Red Top", "April In Paris", "They Can't Take That Away From Me", "Erroll's Theme", and "Where Or When". CD

A classic meeting of these two talents – recorded in Chicago with a Chicago rhythm section of Jodie Christian, Victor Sproles, and Marshall Thompson. The album's an odd one, and is recorded with less of the impeccability of some of Verve's other sessions (which is probaby how the Chicago team got in the action) – but given Baker's harder-edged proclivities at the time, the set's a very interesting one to hear, and the relaxed nature of the tracks brings out some important solo moments from both players. 4 long tracks – including "I'll Remember April", "Jordu", and "Half-Breed Apache". 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

One of the best-ever documents of the young genius of tenorist Wardell Gray – exactly the kind of music that shows why he was one of the biggest and best of the bop saxophonists – before he was taken away from us all too soon! The material here was originally issued on 78s or 45s, and comes together as a great full length representation of Gray at his best – and on this second volume, Wardell works in some bigger groups on great long tracks with a nicely jamming feel! Players include Sonny Criss on alto, Art Farmer and Clark Terry on trumpet, Dexter Gordon on tenor, and Hampton Hawes on piano – and titles include "Move", "Scrapple From The Apple", "Lover", "Farmer's Market", "April Skies", "Jackie", and "Sweet & Lovely". CD

The title's an apt one, as the session features spare, unaccompanied duets between guitarist Jim Hall and bassist Ron Carter – done at a time when both players were stepping into some of their warmest, most sensitive years. Hall's especially great here – and even though he had already built a career out of working in lighter, less rhythm section-based settings, the early 70s saw him moving into even more unfettered territory – and opening up with incredibly personal, sensitive notes that danced equally well with the space around them. Titles include "St Thomas", "I'll Remember April", "Alone Together", "Softly As In A Morning Sunrise", and "Autumn Leaves". CD

Well-arranged recent work from Slide Hampton – an artist who just keeps on maturing wonderfully over the years! Hampton's working here with his World Of Trombones group – a lineup that features a dozen trombones, brought together beautifully with this compressed sound that's sonically amazing – a mode that recalls some of the best modern use of trombones in the 50s and 60s, with more complexity than you'd find in Slide's work of that period. There's still plenty of standout solos amidst the larger group – and rhythm features Larry Willis on piano, John Lee on bass, and Victor Jones on drums – so there's a nice swing to the material too. Titles include "All In Love Is Fair", "April In Paris", "Lament/Basin Street Blues", "Blues For Eric", "Dolphin Dance", and "Moment's Notice". CD

A rare glimpse of the legendary talents of saxophonist Joe Harriott during his classic years – and a set that captures a different sound than his studio albums from the period! The setting is live – as you'd guess from the title – and Harriott's working here more as a visiting lead soloist than the modern jazz visionary of his better-known records – blowing long and imaginative passages over familiar jazz standards, but still working with plenty of enthusiasm and creative energy overall – very similar to Sonny Rollins in a similar environment. The group here is a quintet – with John Collins on baritone and alto sax, matching Harriott nicely on the head arrangements – plus Tony Levin on drums, Colin Willets on piano, and Fred Barnsley on bass. Titles include "Sandu", "Cherokee", "Night In Tunisia", "I'll Remember April", and "Just Friends" – all taken in very long versions! CD

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

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

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

Collects 20 tracks including "Hello Lola", "Bouncing With The Bean", "Dinah", "Say It Isn't So", "Hocus Pocus", "April In Paris", two versions of "Body & Soul", and some rare television performances which are included on the DVD! CD

Well, Hawk isn't really in Paris on this one – as the album was recorded in New York, with backings by Manny Albam – but the spirit of Paris is very much alive on the tunes, which are a mixture of postwar French favorites, and others that have a similar sound. Albam's backings are light and gentle, and Hawkins tenor dominates all tracks, blowing easily and soulfully on well-placed solos. Titles include "La Chnouf", "April In Paris", "Mon Homme", "Under Paris Skies", "I Love Paris", and "La Mer". CD

2 classic albums of jazz harmony vocals by The Hi Lo's! Love Nest is a warmly romantic set – one that's got the quartet singing with backings by Frank Comstock, one of their best accompanists, on a set of tracks that includes "Fairyland", "Dancing On The Ceiling", "But Beautiful", "Love Nest", and "In The Wee Small Hours". The other album's All Over The Place – a rare gem with jazzy backings by Marty Paich, and a wide range of interesting harmony numbers that include "Bali Hai", "Nightingale Sang In Berkeley Square", "April In Fairbanks", "Sand In My Shoes", and "Massachusetts". CD

Beautiful Billie from the last years of her life. The material was recorded in 1956 and 1957 in Hollywood, featuring Barney Kessel, Ben Wesbster, Harry Edison, and Jimmy Rowles – all grooving nicely in small group formation. The tracks have a wonderfully fragile quality – and although standards, are still some of Billie's nicest work for Verve. Titles include "April In Paris", "All Or Nothing At All", "We'll Be Together Again", and "But Not For Me". Great David Stone Martin cover, too! CD

Collects Brunswick and Vocalion recordings with Teddy Wilson, Benny Carter, Lester Young, and others. Titles include "April In My Heart", "Everybody's Laughing", "What Shall I Say", "Sugar", "Dream Of Life", and "Under A Blue Jungle Moon" – 23 tracks total. CD

Manchester, WY April 30, 1986. CD

One of the most starkly beautiful recordings in Paul Horn's career – with spiritually resonant, almost spine tingling solo flute and some chants, all recorded in the Taj Majal one day in April of 1968! It's really all about the atmosphere, as it would have to be given the location – with Horn playing of the amazing echo in a completely wonderful way, never feeling anything less than wholly authentic and genuinely inspired! Titles include "Vibrations", "Akasha", "Jumna", "Shah Jahan", "Mantra II/Duality", and "Unity". Paul Horn follows up his Inside The Taj Majal set – in someways leaving behind the stark, spare initimacy of that set for a more layered and tailored approach – and also leaving behind his more pronounced jazz roots for a more earthy and nature themed mode! Like Inside, it's a solo flute record and a spatial exploration – this time handled with a number of different flutes, and also dabbling in overdubbing – with wind and other nature sounds, up to and including some live dolphin sound effects! Titles include "The Mahabhutas" suite, plus "Centaur", "Morning Song", "Haida", and "Mass: Kyrie". CD

A beautiful little album of sweet late 60s easy – originally recorded by British producer Mike Hurts for Phase 4 at the end of the 60s, but never issued until now! The set has a really warm and glowing sort of groove – one that's a fair bit more dynamic than most of the rest of the Phase 4 sets, with evocative qualities that almost push the record more into the soundtrack side of the spectrum. Hurst's arrangements of the tunes are often quite driving, but never too dramatic – and although the set's an orchestral one, there's a great sense of pacing, timing, and rhythm to all the numbers. Titles include "April Fools", "Cool", "Sound Of Silence", "Wednesday's Child", "Good Vibrations", "Image", "Mission Impossible", and "Theme From The Wild Ones". CD

DualDisc audio is advanced resolution 96khz/24 bit stereo sound and Dolby stereo sound. DVD side features the videos for "Darklands", "Happy When It Rains" & "April Skies". CD

Includes the songs "Jay Jay's Blues", "I'll Remember April", "There's No You", "Gerry Old Man", "Indiana", "Out Of Nowhere", "If I Had You", "Lisa", "Boo Wah", "Something For Lily", and "Wallington Special". CD

A set of standards, but swung in a very inventive way by the Great Jazz Trio – a lineup here that features Hank Jones on piano, Mads Vinding on bass, and Billy Hart on drums! Both Vinding and Hart find a way to make the genius of Hank Jones sound even fresher than ever – not stale at the end of the 80s, but every bit as vibrant as in his earlier years – especially that moment in the 70s when it seemed like Jones was born anew, and able to both draw on the richness of his legacy, while also finding a new sense of expression overseas. This date takes off from that moment brilliantly, but also with a whole new sense of sound and shapes – on titles that include "Stella By Starlight", "I'll Remember April", "Stardust", "The Way You Look Tonight", "Tenderly", and "As Time Goes By". CD

Subtle, spacious sounds from two understated masters of jazz – bassist Red Mitchell and pianist Hank Jones – both working here in a superbly-recorded setting! The tunes are mostly standards, but they've got a warmth and personality that could only come from top talents like this – all the careful, thoughtful motions on the keyboard that Jones always has in his music – really augmented by the soundshaping that Mitchell brings to his bass! Titles include "A Child Is Born", "Wee", "Gone With The Wind", "But Beautiful", "I'll Remember April", "Like Someone In Love", and "Mean To Me" 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

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

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

The first Riverside album by Bev Kelly – an obscure ice-blond singer from the late 50s, with a sound that's much more in keeping with some of the vocalists on the Bethlehem label, than the few singers who cut sides for Riverside. Bev's got the great fortune to be working here with Jimmy Jones, who's done some great work for Sarah Vaughn over the years – and the small group backing on the album includes strong players like Kenny Burrell, Jerome Richardson, Milt Hinton, Roy Haynes, and Jones himself. Titles include "My Ship", "Lonelyville", "Lost April", "Love Look Away", "Thursday's Child", "Love Locked Out", and "Gloomy Sunday". A nice sad one – in case you couldn't guess by the titles! CD

Notable sidemen include Zoot Sims, Lee Konitz, Conte Candoli, and Art Pepper – on tracks that include "Baia", "Autumn In New York", "Me Reverie", "April In Paris", "You And The Night And The Music", and "Street Of Dreams". CD

A similar title and lineup to Lee's other Nonet album of the same year – but with 12 tracks that include "April/April Too", "Who You", "Fanfare", "Chi Chi", "Giant Steps", "Stryker's Dues", and "Hymn Too". 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

A landmark recording – but never issued properly until this reissue! This rare live set was recorded in New York in 1959, and it features the unusual pairing of Lee Konitz and Warne Marsh with the Bill Evans trio of the time – Bill on piano (natch), Jimmy Garrison on bass, and Paul Motion on drums. Evans' warm, round lyricism is quite striking here – much more different backing than we're used to hearing behind Konitz and Marsh, although still with enough modern tones to make them feel right at home. There's a darkly brooding feel to the best numbers here, and most tracks stretch out far past the 5 minute mark – making for a 12 track set that offers over 90 minutes of music! Titles include "Lennie Bird", "April", "Just Friends", "Palo Alto", "317 E 32nd", "It's You Or No One", "You Stepped Out Of A Dream", "Lennie-Bird", and "How About You?". CD

A sparkling postwar musical fantasy of Paris – one made up of a host of famous themes from French pop music of the 20th century, all set to lush string arrangements by a young Michel Legrand! The album's not as upbeat or jazzy as some of Legrand's later soundtrack work, but it's got a wonderful quality all its own – a warmly romantic vision of a Paris that was still putting the pieces back together less than a decade after WWII, presented in a way that glosses sweet sounds over darker corners with a vaguely eerie feel. The record instantly made Legrand an international favorite, and features "The Last Time I Saw Paris", "Paris Canaille", "Autumn Leaves", "A Paris", "La Vie En Rose", "Under Paris Skies", and "April In Paris. CD

"Pre-kushikushism" was recorded live at Galerija Kapelica on 3rd April, 2008. CD

Mid 70s magic from the team of Warne Marsh and Lee Konitz – playing together here with an even sharper edge than their recordings of two decades before! The recordings are all live – done at the Club Montmartre in December of 1975 – but they've got a clarity that's almost studio-worthy, which really captures the tone of the players. Marsh is especially great – working with that stretched-out sense of freedom he was hitting in the 70s – and Konitz is pretty swinging himself, with a bit less of the more modern tones of that decade. Rhythm is from a trio that features Ole Kock Hansen on piano, Niels Henning Orsted Pedersen on bass, and Alex Riel on drums – and titles include "Background Music", "Kary's Trance", "Lennie-Bird", "Blues By Lester", "April", and "You Stepped Out Of A Dream". CD

One of the only 70s sessions cut as a leader by pianist Art Matthews – and sweet little set that's overflowing with soul! The tracks are long and freely flowing – somewhat righteous, but never too far out – and mostly in a style that's inspired by McCoy Tyner, but which also features some of the groovier elements of Ronnie Matthews (any relation?) Art's group here is all wonderful – with Dizzy Reece on trumpet, both Archie Shepp and Bill Pierce on tenor, Charles Farmbrough on bass, and Alan Dawson on drums – all working together in formation that's somewhat tight, but in ways that are completely different from mainstream bigger label jazz at the time. The set's got a very open, fluid feel – yet never gets free at all – and titles include "Samba Ebony", "5/4 Thing", "Love Dreams", "I'll Remember April", and "It's Easy To Remember". 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

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

Key moments in the career of Charles Mingus – all recorded during the crucial years of 1964 and 1965, and featuring the first-time release of a fair bit of live material too! The set represents the first full presentation of recordings that have appeared piecemeal on a handful of obscure releases – self-released records from Mingus himself – Town Hall, My Favorite Quintet, and Music Written For Monterey – all really expanded here with the full recordings of the tracks, and unreleased titles provided from the original tapes! Mingus was really on fire during these years – severed from most of his bigger label associations, and freely working on some of his most inventive ideas with various smaller groups of players – all fresh young talents who were key interpreters of Charles' ideas – including Johnny Coles and Lonnie Hillyer on trumpet, Jimmy Owens on trumpet and flugelhorn, Charles McPherson on alto sax, Clifford Jordan on tenor, Jaki Byard on piano, Eric Dolphy on alto, flute, and bass clarinet. The stalwart Dannie Richmond is on drums, and the sides represent some of Dolphy's last, and most important recordings on the planet – recordings done at Town Hall and in Amsterdam in April of 1964 – in addition to live material at Monterey in 1964 and 1965, in Minneapolis in May of 1965. Tracks are all quite long – some pushing the half-hour timing – and as with the best live Mingus, there's variations here that go way past any studio readings – really incredible solo flights that are still beautifully integrated with the ideas of the main group. Titles include "So Long Eric", "Orange Was The Color Of Her Dress Then Blue Silk", "Mingus Piano Solo", "Bird Preamble", "Themeless Blues", "Copa City Titty", "A Lonely Day In Selma", "Cocktails For Two", "Praying With Eric", "Parkeriana", "ATFW", "Meditations On A Pair Of Wire Cutters", and "Meditations On Integration". 7CDs, limited edition, and with a great book of notes too! 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 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

Fantastic work from Thelonious Monk – a superbly-recorded live set from early 60s Paris – done with his legendary quartet with Charlie Rouse on tenor! The music here is wonderful – tracks that are often quite long, and stretched out nicely from the Columbia Records material by the group – with especially long improvisations by Monk that really reignite our respect for his genius – and the kind of soulful solos from Rouse that are always a perfect match! The bass of John Ore is beautifully recorded too – maybe even more powerful here than usual – and Frankie Dunlop completes the group with wonderfully deft work on drums. Titles include "Nutty", "Bemsha Swing", "Evidence", "Body & Soul", "I Mean You", "Epistrophy", "Just A Gigolo", "April In Paris", "Crepuscule With Nellie", "Jakie-ing", and "Off Minor". CD

A classic outing of solo piano by Thelonious Monk – a format that wasn't used often, but which always made for some really compelling work! Monk in this mode is often different than the bolder leader of a trio or larger group – and there's a more introspective quality to the record that we really like – a sound that's sometimes tentative, then sometimes pushing forward with strength – almost more human than on some of his other efforts of the late 50s. John Coltrane makes a surprising appearance on the last track – "Monk's Mood" – and other titles include "April In Paris", "Ghost Of A Chance", "Functional", "I'm Getting Sentimental Over You", "I Should Care", "'Round Midnight", and "All Alone". CD

A classic outing of solo piano by Thelonious Monk – a format that wasn't used often, but which always made for some really compelling work! Monk in this mode is often different than the bolder leader of a trio or larger group – and there's a more introspective quality to the record that we really like – a sound that's sometimes tentative, then sometimes pushing forward with strength – almost more human than on some of his other efforts of the late 50s. John Coltrane makes a surprising appearance on the last track – "Monk's Mood" – and other titles include "April In Paris", "Ghost Of A Chance", "Functional", "I'm Getting Sentimental Over You", "I Should Care", "'Round Midnight", and "All Alone". Features bonus tracks "Monks' Mood (false start)", "Ghost Of A Chance (take 5)" & "I Should Care (takes 1 & 2)". CD

Recorded live at Blind Pig Ann Arbor, Michigan, April 10th 1990. CD