Features Cedar Walton on piano, David Williams on bass, and Billy Higgins on drums. Tracks include "St. Thomas", "I Mean You", "Afternoon In Paris", and "There Is No Greater Love". 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

With Vincent Herring on alto saxophone and flute, David Williams on bass, and Kenny Washington on drums. CD

A strong quartet set from Cedar Walton – with Bob Berg blowing on tenor, recalling the feel of the older Walton/Hank Mobley sides in the same manner, and featuring a lithe rhythm section of Sam Jones and Billy Higgins. The set was recorded live at Club Montmartre in 1977 – and Walton is, as ever, fully in command of his soulful talents. Titles include "Fantasy In D", "Bolivia", and "Angel In The Night". CD

A brilliant slice of rare work by Cedar Walton – tracks from three different live sessions of the early 70s, all of them recorded at the Famous Ballroom in Baltimore, and all of them previously unreleased! The bulk of the work features Walton with the core group of players he was working with at the time – Sam Jones on bass, Billy Higgins on drums, and Clifford Jordan on tenor – all grooving in the mode of the Eastern Rebellion albums or some of Jordan's own sessions – a post-Coltrane take on soul jazz, mixing the spiritual with the modal with hardbop! Etta Jones sings guest vocals on two bluesier numbers, and Bill Hardman blows a bit of trumpet on some tracks – and titles include "Naima", "Pinocchio", "This Guy's In Love With You", "Plexus", and "I'm Not So Sure". CD

The first in a trio of excellent (and numbered!) trio sides that Cedar Walton cut for Red Records in the 80s – and a great start to the whole series! The album's got an open, fluid feel that almost seems ready-made for the CD generation – Walton stretching out in those longer takes that soon became the norm in the later years of his life – working here with David Williams on bass and Billy Higgins on drums, and getting plenty of space to muse openly on the keys of the piano. The instrument used for the record seems to be a big "grander" than usual for Walton – as the tones ring out and resonate strongly, furthering the flow of the music – on cuts that include "Lover Man", "Holy Land", "Voices Deep Within Me", "My Ship", and "Every Time We Say Goodbye". CD

An easygoing, long-flowing record from Cedar Walton – one that has the pianist in very relaxed space, playing with a style that's very open, contemplative, and beautiful! There's a bit more sensitivity here than the usual Walton trio date – and despite the cover's emphasis on the other members of the trio, bassist David Williams and drummer Billy Higgins, some of the standout tunes are the ones in which Walton is working out front, almost solo – although when the rhythm duo kicks in, things are pretty great too (we're always huge fans of Higgins' work on drums, especially in the company of Walton.) Titles include "Theme For Ernie", "For All We Know", "Jacob's Ladder", "Bluesville", and "Ojos De Rojo". CD

We've always loved the way that Cedar Walton kept maturing in his style over the years – and this 80s album is a wonderful example of the way he really took off during his third decade in jazz! At one level, the tunes are very simple and basic – familiar trio settings, with David Williams on bass and Billy Higgins on drums – but Walton manages to work this subtle magic on the tunes as the album moves on – some hip undercurrents of soul, warmly flowing lyricism, and fresh ideas that make even the better-known cuts stand out from other readings. Higgins' drums help a lot to this end – always shifting up underneath the piano – almost with their own sense of melody at times – and the round, warm tones of David Williams certainly help ground the album nicely too. Titles include the Walton numbers "Ground Work", "Fantasy In D", "Theme For Red", and Another Star" – plus versions of "Once I Loved" and "Girl Talk From Harlow". CD

We've always loved the way that Cedar Walton kept maturing in his style over the years – and this 80s album is a wonderful example of the way he really took off during his third decade in jazz! At one level, the tunes are very simple and basic – familiar trio settings, with David Williams on bass and Billy Higgins on drums – but Walton manages to work this subtle magic on the tunes as the album moves on – some hip undercurrents of soul, warmly flowing lyricism, and fresh ideas that make even the better-known cuts stand out from other readings. Higgins' drums help a lot to this end – always shifting up underneath the piano – almost with their own sense of melody at times – and the round, warm tones of David Williams certainly help ground the album nicely too. Titles include the Walton numbers "Ground Work", "Fantasy In D", "Theme For Red", and Another Star" – plus versions of "Once I Loved" and "Girl Talk From Harlow". CD

Cedar Walton on solo piano. CD

One of the last great albums that Hank Mobley ever cut! Although Mobley's 70s output was nothing compared to his 60s Blue Note work, this 1972 session for Cobblestone/Muse is a winner, and features the aging tenorist co-leading a crack quintet with Cedar Walton, and featuring Billy Higgins, Sam Jones, and Charles Davis. The set's freer than Mobley's Blue Note work, but the group's right on the money – and the record is dominated by fierce soulful solos. Walton plays both acoustic and electric piano, at times, the record feels as if it might have been issued on the Black Jazz label. Tracks include "Sabia", "Breakthrough", "Early Morning Stroll", and the beautiful "House On Maple Street". CD

Cedar Walton on piano, Dale Barlow on tenor saxophone, Billy Higgins on drums & Dave Williams on bass. CD

Ron Carter on bass, Billy Higgins on drums, and Cedar Walton on piano. CD

Cedar Walton on piano, David Williams on bass, and Billy Higgins on drums. CD

One of our favorite records of all time from trumpeter Donald Byrd – a sometimes-overlooked gem from the late 60s, and one that has Byrd really playing with a slightly different edge than before! The set's recorded with a group that Byrd maintained for two years – a stunning lineup that features Sonny Red on alto sax, Cedar Walton on piano, Walter Booker on bass, and Billy Higgins on drums – all of whom come together magnificently in a razor-sharp formation, mixing hardbop and soul jazz with an edge that you'll hardly find on any of Byrd's other albums from the time. A lot of the credit is due to Sonny Red – who plays with a raspy tone that's odd for the alto, and which really draws out Byrd's solo skills. Walton's got a heavy left-handed approach that really hits some great grooves – and the team of Booker and Higgins leap lyrically, yet also throw just the right amount of funk into the rhythms. Includes the Blue Break classic "Jelly Roll", the amazing jazz dancer "Book's Bossa", and the sublime "Slow Drag", one of the strangest groovers you'll ever hear! CD

James Clay on tenor sax, Cedar Walton on piano, David Williams on bass, and Billy Higgins on drums. CD

One of Ornette Coleman's best recordings from the 70s – and like his other album for Columbia, quite a change from the freewheeling sounds he was blowing over at Blue Note! The style here is a bit more high concept, but in a good way – with all the edges that Coleman had developed from the late 50s onward, brought into tighter focus for the Columbia setting – given a bit more complexity, although still with plenty of room for freedom – and played both with a smaller combo, and a slightly larger group. The mix of players is as striking as the sounds on the record – and includes Coleman on alto, trumpet, and violin – plus Dewey Redman on tenor, Don Cherry on pocket trumpet, Bobby Bradford on trumpet, Jim Hall on guitar, Cedar Walton on piano, Charlie Haden on bass, and Billy Higgins and Ed Blackwell on drums. Asha Puthli sings a bit on the larger ensemble tracks – making a rare appearance here before her 70s soul career in Germany – and titles include "What Reason Could I Give", "Street Woman", "The Jungle Is A Skycraper", and "All My Life". 2CD set also features all the material from the Broken Shadows album as well – plus 3 previously unissued bonus tracks. Other titles include "Happy House", "Elizabeth", "Good Girl Blues", "Broken Shadows", "Rubber Gloves", and "Written Word". CD

A nice little cooker from Junior – with no pun on the artist or title intended! The album's one of Cook's few sets as a leader, and arguably has an even better focus than most of the rest – thanks to strong production from Cedar Walton, who's also backing Junior for the record with his trio of Billy Higgins on drums and Buster Williams on bass. The groove is nice and fluid – in the best Walton way that combines warmth with a sense of free-soaring energy – and Junior's solos seem a bit more hard-bitten than before, but still with that sense of lyrical warmth that he developed with Horace Silver. Titles include "Chi Chi", "Hindsight", "Heavy Blue", "Illusion Of Grandeur", "Fiesta Espanol", and "Detour Ahead". CD

With Lester Bowie, Craig Handy, Philip Harper, Billy Higgins, Steve Kroon, Cedar Walton, Peter Washington, and Bobby Watson. CD

A fantastic album from Sonny Criss! The record is one of his excellent late 60s "comeback" sides for Prestige – and it features incredibly solid, confident, and hard alto solos, blown with a tremendous amount of imagination. Bob Cranshaw and Alan Dawson provide excellent rhythm accompaniment, and Cedar Walton's a genius on piano, providing just the right touches to give the album a sense of mature whimsy that makes the selection of tracks work perfectly in a jazz setting. There's a lot of room here, and him and Sonny intertwine constantly in a beautiful lyrical way that never gets too sentimental. Titles include "Ode To Billie Joe", "Somewhere My Love", "The Beat Goes On", and "Georgia Rose". CD

A fantastically beautiful album that strongly proves the old jazz adage "It's not the song, but the singer"! The "singer" in this case is alto player Sonny Criss – and the songs are a middle of the road batch of compositions, like "Sunny", "Willow Weep For Me", "Up Up & Away", and "Scrapple From the Apple". Forget the songs, in this case, because it's the "singer" who adds all the genius, as Criss' solos are fantastically warm, lyrical, and imaginative – far more so than you could imagine by just reading the titles on the album. We love all of the late 60s albums by Criss on Prestige, but this one's one of our favorites, and is a beautiful example of the late altoists sheer creative power in action. Other players include Cedar Walton, Tal Farlow, and Bob Cranshaw. CD

A fantastically beautiful album that strongly proves the old jazz adage "It's not the song, but the singer"! The "singer" in this case is alto player Sonny Criss – and the songs are a middle of the road batch of compositions, like "Sunny", "Willow Weep For Me", "Up Up & Away", and "Scrapple From the Apple". Forget the songs, in this case, because it's the "singer" who adds all the genius, as Criss' solos are fantastically warm, lyrical, and imaginative – far more so than you could imagine by just reading the titles on the album. We love all of the late 60s albums by Criss on Prestige, but this one's one of our favorites, and is a beautiful example of the late altoists sheer creative power in action. Other players include Cedar Walton, Tal Farlow, and Bob Cranshaw. CD

A fantastically beautiful album that strongly proves the old jazz adage "It's not the song, but the singer"! The "singer" in this case is alto player Sonny Criss – and the songs are a middle of the road batch of compositions, like "Sunny", "Willow Weep For Me", "Up Up & Away", and "Scrapple From the Apple". Forget the songs, in this case, because it's the "singer" who adds all the genius, as Criss' solos are fantastically warm, lyrical, and imaginative – far more so than you could imagine by just reading the titles on the album. We love all of the late 60s albums by Criss on Prestige, but this one's one of our favorites, and is a beautiful example of the late altoists sheer creative power in action. Other players include Cedar Walton, Tal Farlow, and Bob Cranshaw. CD

Kenny Dorham on trumpet, Sonny Red on alto saxophone, Cedar Walton on piano, John Ore on bass, and Hugh Walter on drums. CD

An unusual little session for Kenny Dorham – one in which he sings as well as plays trumpet – perhaps taking a page out of Chet Baker's book, but with a completely different approach! The group features Curtis Fuller, Cedar Walton, Sam Jones, and Charlie Persip on drums – who is replaced by GT Hogan on a couple of numbers. The set's all standards, and Kenny's style is nicely raspy – not the best technically, but with some surprisingly gentle feeling that's a nice complement to his work on trumpet. Includes "Autumn Leaves", "Since I Fell For You", "From This Moment On", "This Is The Moment", "Angel Eyes", and "Golden Earrings". CD

A pretty warm and lyrical set by Kenny – accompanied here by a larger group that includes Cecil Payne, David Amram, and Cannonball Adderley on horns, plus a young Cedar Walton on piano. Dorham wrote 4 of the album's tracks, and they provide a perfect showcase for his polished trumpet style. Titles include "Spring Cannon", "Blue Spring", "Poetic", and "Passion Spring". CD

One of the greatest Art Farmer recordings of the 70s – an especially sharp-edged performance, thanks to the presence of Clifford Jordan in the group! The album was recorded live at Boomer's nightclub in New York – and all tracks have a long-flowing, open ended quality – a bit like some of the work that Jordan was recording under his own name at the time, but touches with more of Farmer's warmth. The lineup includes a Jordan's familiar musical trio of Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums – all of whom sparkle nicely in this setting – and titles include "Will You Still Be Mine", "I Remember Clifford", "Barbados", and "Round Midnight". CD

One of the greatest Art Farmer recordings of the 70s – an especially sharp-edged performance, thanks to the presence of Clifford Jordan in the group! The album was recorded live at Boomer's nightclub in New York – and all tracks have a long-flowing, open ended quality – a bit like some of the work that Jordan was recording under his own name at the time, but touches with more of Farmer's warmth. The lineup includes a Jordan's familiar musical trio of Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums – all of whom sparkle nicely in this setting – and titles include "Fantasy In D", "Manha De Carnaval", "Blues For Amos", and "What's New". CD

Gently graceful work from Art Farmer – and a wonderful example of the way he was expanding his talents in the 70s! The set's got a slow burning sensuality that seems to bring even more soul out of Farmer's work on flugelhorn than before – especially on the mellower cuts, which seem especially written as showcases for Art's masterful examples of understatement. But don't go thinking that the album's all ballads, because with a rhythm section that includes Cedar Walton, Sam Jones, and Billy Higgins, the tracks move along nicely, even when in a gentler mode. Titles include "The Summer Knows", "Ditty", "Manha Do Carnaval", and "When I Fall In Love". CD

Gently graceful work from Art Farmer – and a wonderful example of the way he was expanding his talents in the 70s! The set's got a slow burning sensuality that seems to bring even more soul out of Farmer's work on flugelhorn than before – especially on the mellower cuts, which seem especially written as showcases for Art's masterful examples of understatement. But don't go thinking that the album's all ballads, because with a rhythm section that includes Cedar Walton, Sam Jones, and Billy Higgins, the tracks move along nicely, even when in a gentler mode. Titles include "The Summer Knows", "Ditty", "Manha Do Carnaval", and "When I Fall In Love". CD

A pretty sweet 70s set from Art Farmer – ostensibly a tribute to Duke Ellington, but really more of a gently soulful session in the mode of Art's best work of the decade! The group is the Cedar Walton trio with Walton on piano, Sam Jones on bass, and Billy Higgins on drums – all matching Art's lyrical work beautifully, in a soulfully swinging way that transforms familiar Ellington numbers into new vehicles for creative expression. Farmer's at the height of his powers, and tracks include "Love You Madly", "Lush Life", "In A Sentimental Mood", and "The Star Crossed Lovers". CD

A pretty sweet 70s set from Art Farmer – ostensibly a tribute to Duke Ellington, but really more of a gently soulful session in the mode of Art's best work of the decade! The group is the Cedar Walton trio with Walton on piano, Sam Jones on bass, and Billy Higgins on drums – all matching Art's lyrical work beautifully, in a soulfully swinging way that transforms familiar Ellington numbers into new vehicles for creative expression. Farmer's at the height of his powers, and tracks include "Love You Madly", "Lush Life", "In A Sentimental Mood", and "The Star Crossed Lovers". CD

Sublime work from trumpeter Art Farmer – and a key document of the way that he continued to develop his sound in the 70s! Farmer's at the height of his powers here – working in a soulful quartet with Cedar Walton, Sam Jones, and Billy Higgins – just setting up these beautiful little solos that seem to float out effortlessly from his golden horn. The gentle emotion and light swing of the album give it the surprisingly emotional pull of a sad San Francisco afternoon – as the sun shines brightly, but a strange chill interrupts any easy dreaming that might take place. Includes sublime versions of "What Are You Doing The Rest Of Your Life", "How Insensitive", "Firm Roots", and Benny Golson's "Yesterday's Thoughts". CD

Sublime work from trumpeter Art Farmer – and a key document of the way that he continued to develop his sound in the 70s! Farmer's at the height of his powers here – working in a soulful quartet with Cedar Walton, Sam Jones, and Billy Higgins – just setting up these beautiful little solos that seem to float out effortlessly from his golden horn. The gentle emotion and light swing of the album give it the surprisingly emotional pull of a sad San Francisco afternoon – as the sun shines brightly, but a strange chill interrupts any easy dreaming that might take place. Includes sublime versions of "What Are You Doing The Rest Of Your Life", "How Insensitive", "Firm Roots", and Benny Golson's "Yesterday's Thoughts". CD

One of the best albums ever by this crack soul jazz combo – the mighty Jazztet, an early 60s group led by Art Farmer and Benny Golson! The set was recorded in Chicago, and it features the group hard-grooving through some really well-arranged numbers – lively tunes with a snapping, in-the-pocket kind of groove, played with a lot more soul than you'd expect from either Golson or Farmer's solo albums. The rest of the group's great, too – and features Cedar Walton on piano, Tom McIntosh on trombone, and Albert Heath on drums. A few tracks are nice and long, and titles include "Farmer's Market", "Junction", "November Afternoon", and "Shutterbug". CD

Joe Farnsworth on drums, Eric Alexander on tenor saxophone, Eddie Henderson on trumpet and flugelhorn, Steve Davis on trombone, Cedar Walton on piano, and Nat Reeves on bass. CD

Lawrence Fields is a pianist with a wonderful blend of complexity and rhythm – a player who can spin out quick lines that almost verge into modern jazz territory, yet one who also holds things back to reach the right sort of interplay with bassist Yasushi Nakamura and Corey Fonville – trio members who really set fire to the lyrical ideas in Lawrence's music! Fields is young, but comes on here with a depth that almost makes us think of mature Cedar Walton at his best – and the set's full of original tunes that showcase Field's strong powers as a composer as well. Titles include "LBF", "New Season Blues", "Moving On", "Parachute", "Yasorey", "Vision", and "Sketches". CD

With Cedar Walton on piano and Ron Carter on bass. CD

One of Dexter's most solid albums on Prestige – and a great set cut at the Van Gelder studios with a rock-solid American lineup that includes Cedar Walton, Freddie Hubbard, Buster Williams, and Billy Higgins. The ensemble groove is a lot tighter than on some of Gordon's solo-heavy European sessions – and in a way, the record hearkens back to some of the greatness of the Blue Note days. Titles include "Milestones", "Scared To Be Alone", "We See", and "The Group". CD

A great American set from Dexter Gordon – recorded at a time when most of his bigger records were coming from overseas! The set's got some nice long tracks that really let Gordon open up on tenor – on those well-blown, longform solo modes he was really cracking in the European scene – equally adept here in the company of a group that features Thad Jones on flugelhorn, Hank Jones on piano, and Stanley Clark on drums – on titles that include "Tangerine", "What It Was", and "August Blues". The set also features a version of "Days Of Wine & Roses" – recorded with a group that features Cedar Walton on piano. CD features an alternate of "The Group", recorded with the Walton group and Freddie Hubbard on trumpet! CD

A great late life jazz set done by Dexter Gordon to accompany his appearance in the film Round Midnight – one that includes material that wasn't done for the film.! Herbie Hancock produced – and while some of the cuts feature Dexter on tenor, there's others that feature other players too – a really interesting lineup of musicians who were part of the revived Blue Note label in the 80s! Gordon plays tenor in a variety of groups – with Freddie Hubbard on trumpet and Cedar Walton on piano on "Society Red", Wayne Shorter on soprano and Herbie on piano on "Round Midnight", Palle Mikkelborg on trumpet and Walton on piano on "Tivoli, and John McLaughlin on guitar and Hancock on piano on "As Time Goes By". Other tracks include a solo reading of "Round Midnight" by Hancock on piano, "It's Only A Paper Moon" with Bobby Hutcherson on vibes, and Herbie on piano, "What Is This Thing Called Love" with Hancock on piano and Bobby McFerrin on vocals, "Call Sheet Blues" with Wayne Shorter's tenor next to Herbie's piano, and "Berangere's Nightmare #2" with Hubbard and Hancock next to Ron Carter on bass and Tony Williams on drums. CD

2 later albums by Johnny Griffin – both recorded after his return to the US during the late 70s! Bush Dance is a pretty interesting little set – one that features Griffin working in an easygoing combo with slight electric touches – a group that features George Freeman on guitar, alongside Cedar Walton's acoustic piano, plus bass by Sam Jones, drums by Albert Heath, and percussion and congas from Kenneth Nash. The mixture of guitar and congas gives the album a very different feel than some of Griffin's other work – almost a lighter soul jazz touch that recalls some of the best Muse Records sides from the time. Tracks are long, and rhythms get nice and free at times – and titles include a 17 minute take on "Night In Tunisia" that really gets a bit wild, plus "Since I Fell For You", "Bush Dance", "Knucklebean", and "The JAMFs Are Coming". Call It Whatchawanna is a more straight-ahead album, and a great one too – recorded with a youthful and soulful rhythm combo that features Mulgrew Miller on piano, Curtis Lundy on bass, and Kenny Washington on drums – all supporting Griffin with warm round tones that work perfectly with his open solo style. Titles include "I Mean You", "Lover Man", "Call It Whachawanna", and "A Waltz With Sweetie". CD

Bop legend Al Haig gets a wonderful setting here – a beautifully-recorded trio date done for the Japanese market – with sensitive backing that really shows the development in Haig's sound and style over the years! Bassist Jamil Nasser is a wonderful choice for the group – playing with these round, well-shaped lines that seem to unlock a whole new lyrical side in Al's music – and drummer Billy Higgins fits in perfectly, able to work this subtle magic behind Haig, similar to his stellar sessions with Cedar Walton. The set list is great – material that also shows a side of Al that you might not expect – and titles include Antonio Carlos Jobim's "How Insensitive", Herbie Hancock's "Dolphin Dance", and Wayne Shorter's "Maoco" – plus "Sweet and Lovely", "Chelsea Bridge", "Love Will Find A Way", "Lush Life", and "We'll Be Together". CD

An overlooked killer from Slide Hampton – an 80s date with long tracks and plenty of soul – and one of Hampton's few small combo sets of the time! The lineup is impeccable – with Clifford Jordan on tenor, Cedar Walton on piano, David Williams on bass, and Billy Higgins on drums. Titles include "Roots", "Maple Street", "Solar", and "Precipice". CD

Features Hargrove on trumpet, Sherman Irby on alto, Larry Willis on piano, Gerald Cannon on bass, and Willie Jones on drums – backed by a string section with arrangements by Hargrove, Willis, and Cedar Walton! CD

Wow! We can never get enough of Eddie Harris. Despite all of the silly situations he's ended up in over the years, an album like In Sound still stands as a beautiful testament to all of the raw power in Eddie's playing. His tone is perfect, and totally unique – and he plays here with Cedar Walton on piano, Ron Carter on bass, Billy Higgins on drums, and the great Ray Codrington on trumpet, who also played with the JFK Quintet. No tricks here, just incredibly solid jazz playing, on tracks like Eddie's famous "Freedom Jazz Dance", plus "Born To Be Blue" and "Cryin' Blues". Mean Greens is another example of classic 60s soul jazz material by Eddie – and proof that the move to Atlantic was a good one! As usual with Eddie's 60s sessions, the players are very hip – and feature an amalgamation of younger and lesser-known talents like Melvin Jackson, Ray Codrington, and Sonny Philips. Cedar Walton also plays some lovely piano on the record, giving a few tracks a bit more of a lyrical touch than usual – and Eddie responds to this nicely in his solos. Includes an early take of "Listen Here", with Eddie on electric piano, next to Sonny Philips' organ. Also with "Goin' Home", "Blues In the Basement", and "Mean Greens". CD

A nice little collection of some classic hard bop from Jimmy Heath, with a few of the sides of some the stuff he recorded with larger ensembles thrown in for good measure, pulled together in the 80s, once the OJC family of labels came under the Fantasy umbrella. Heath's Riverside recordings of the late 50s and early 60s is some of our favorite material on the label, recording with a soulful, hip edge and fiery hard bop energy. This collection pulls numbers from The Thumper, Really Big!, The Quota, Triple Threat, Swamp Seed and On The Trail, and feature a host of top notch players, including Nat Adderley, Curtis Fuller, Wynton Kelly, Paul Chambers, Pat Patrick, Cannonball Adderley, Julius Watkins, Freddie Hubbard, Cedar Walton, and brothers Percy and Albert Heath. Tracks include "Nice People", "Who Needs It?", "The Picture Of Heath", "Down Shift", "Lowland Lullaby", "Dew & Mud", "Wall To Wall" and "All The Things You Are". CD includes two bonus tracks "Goodbye" & "Swamp Seed". CD

A sextet session with Eddie Henderson on trumpet, Grover Washington Jr. on soprano sax, Joe Lovano on tenor, Cedar Walton on piano, Peter Washington on bass, and Billy Higgins on bass. CD

Classic early work by modern tenor genius Joe Henderson – very well titled with the use of "mode", given the new sound and new direction Henderson was taking his tenor in the 60s! The album's got Joe working at the head of an all-great lineup that includes Lee Morgan on trumpet, Curtis Fuller on trombone, Cedar Walton on piano, and Bobby Hutcherson on vibes – the last of whom really brings in some tremendous moments to the record, using his instrument to create a slightly off-kilter feel that pushes the set from straight hardbop into the modern realm with traces of "new thing" tones and colors. Joe's solos are incredible – searing, searching, yet still pulsing with an undeniably soulful rhythm – and titles include the essential track "Black", plus "Caribbean Fire Dance", "Free Wheelin", and "Shade Of Jade". CD features a bonus alternate take of "Black". CD

Warm, wonderful work from pianist John Hicks – stretching out here in a trio set that also features some vibes from Bobby Hutcherson! The best tracks here have that great Hicks groove – a style that's not really funky or modal, but leaping forward with a warm approach to the rhythms – almost like Cedar Walton at his best, but a bit more exploratory, too! The rhythm section is sweet – with Walter Booker on bass and Idris Muhammad on drums – and although Hutcherson doesn't play on every track, he really brings some nice energy to the record. Titles include "Soul Eyes", "Pas De Trois", "Paul's Pal", and "Say It". CD also includes bonus tracks "Take The Coltrane" and "Oblivion". CD

Billy Higgins on drums, David Williams on drums, Cedar Walton on piano, Harold Land on tenor saxophone, and Oscar Brashear on trumpet. CD

A record that certainly makes us smile – as it's got the fantastic cornet of Terumasa Hino in a group that features Cedar Walton on piano, David Williams on bass, and Michael Carvin on drums – all working together as almost a "Walton plus one" sort of date – but with specially sparkling solos from the leader! The mix of Walton and Hino is one that we never would have thought possible 20 years before – but here, the maturing players come together wonderfully with energy that's very intuitive, as they make their way through the set of mellow ballads you might expect from the title. Tunes include the original "Blue Smiles", plus "Alfie", "My Funny Valentine", "Smile", "You Are So Beautiful", "Unforgettable", and "My One & Only Love". CD

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries". CD

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries". CD

Pivotal work from trumpeter Freddie Hubbard – eleven full albums recorded by the young jazzman as a leader, together showing a really incredible scope of his talents in just a few short years in the studio! The Blue Note albums here already show an incredible evolution – from initial hardbop crackle at the best level of the label, to a slight shift into new thing territory that marks a more experimental side of Freddie's work that would take off later in the 60s. There's also two Impulse Records releases in the package – the completely sublime sextet outing of The Artistry Of Freddie Hubbard – a great date with Curtis Fuller on trombone, Tommy Flanagan on piano, and John Gilmore on tenor – making a rare appearance in the studio away from the Sun Ra Arkestra! The other Impulse album is titled Body & Soul – and has Hubbard amidst a larger group of modernists on most tracks, with these incredible Wayne Shorter arrangements – then in a small group with shorter on tenor and Eric Dolphy on alto and flute. Blue Note albums include Breaking Point, Blue Spirits, Open Sesame, Going Up, Hub Cap, Ready For Freddie, Hub Tones, and Here To Stay – with players who include Tina Brooks, Jimmy Heath, and Wayne Shorter on tenors; McCoy Tyner, Cedar Walton, and Herbie Hancock on pianos; Paul Chambers, Sam Jones, and Reggie Workman on basses; and James Spaulding making a key early appearance on alto and flute. 70 long tracks in all – and a very detailed booklet of notes with rare photos! CD

Classic Freddie Hubbard on Blue Note – from the hip cover to the magical music in the grooves! The session is one of Freddie's all-time best from the early days – and features a very hard wailing lineup that mixes tight hardbop rhythms with some more adventurous soloing that almost has a modern jazz kind of tinge. Cedar Walton's on piano, Julian Preister's on trombone, and Jimmy Heath is on tenor – working with Freddie to craft some mindblowing work on titles that include the amazing "Plexus", plus "Hub Cap", "Cry Me Not", and "Earmon JR." CD adds an alternate take of "Plexus". CD

Classic Freddie Hubbard on Blue Note – from the hip cover to the magical music in the grooves! The session is one of Freddie's all-time best from the early days – and features a very hard wailing lineup that mixes tight hardbop rhythms with some more adventurous soloing that almost has a modern jazz kind of tinge. Cedar Walton's on piano, Julian Preister's on trombone, and Jimmy Heath is on tenor – working with Freddie to craft some mindblowing work on titles that include the amazing "Plexus", plus "Hub Cap", "Cry Me Not", and "Earmon JR." CD also features a bonus alternate of "Plexus". CD

A nice little live set from Freddie – open and free, with a soulfully-blown spirit that reminds us of his best live recordings of the 60s! The group's a quintet with some especially strong work from Don Braden on tenor and Ronnie Matthews on piano – and the tracks all stretch out at lengths that go well past the 10 minute mark – allowing Hubbard, Braden, and Matthews to really hit some great moments in their solo work. Titles include "Dear John", "All Blues", "God Bless The Child", and a really strong take on Cedar Walton's "Bolivia"! CD

A beautiful little session from Bobby Hutcherson – recorded live as a tribute to the legendary Keystone Korner jazz club in San Francisco – but even more important as a later meeting between Bobby and saxophonist Harold Land! The vibe here is a bit different than previous Land/Hutcherson albums – not as tightly righteous, but still tremendously soulful – gliding along with an energy that's always soaring and searching, but never in a way that's nervous or undirected. Other players include Oscar Brashear on trumpet, Cedar Walton on piano, Billy Higgins on drums, and Buster Williams on bass – a perfectly-matched lineup that sets each tune on fire with their imagination. Titles include "Rubber Man", "Starting Over", "Crescent Moon", "Short Stuff", and "Prism". CD

A great live date – recorded in Tokyo with Jackson on vibes, Teddy Edwards on tenor, Cedar Walton on piano, Ray Brown on bass, and Billy Higgins on drums. Tracks include "Killer Joe", "All Blues", "St. Thomas", "The Prophet Speaks", and "Stolen Moments". CD