A very rare slice of work from Charles Mingus – sides recorded for his Debut label that featured vocalists in the lead! Backing is by Mingus-led combos on all tracks – but the presence of singers makes for a great change in the music – not a sleepy, torch jazz vocal style – but much more in the inventive style of singing that would crop on on a handful of Mingus dates from later years – heard here in much more experimental modes. Jackie Paris' work is an especially great revelation – as it's a real contrast to some of his straighter later stuff – but The Gordons are great too, the vocal group from which Honi Gordon sprang to do her solo album for Prestige. Bob Benton sings on a few numbers too – and other players include Lee Konitz on alto, Paige Brook on flute, Hank Jones on piano, and Max Roach on drums – and titles include "Portrait", "I've Lost My Love", "Precognition", "Make Believe", "Paris In Blue", "Montage", "You & Me", "Cupid", "Can You Blame Me", and "Bebopper". CD

Two rare slices of Charles Mingus from the 50s – back to back on a single CD! First up is a Charles Mingus Octet session, originally released as a 10" LP – and a date that shows some of the first complicated orchestrations from the legendary bassist! The music here already has the creatively complex feel of Mingus' better-known mid 50s sessions – like the Jazz Composers Workshop date on Savoy, or the Bethlehem sides – and the interplay between the horn work is really amazing, and worth the price of admission itself! Players include Willie Dennis on trombone, Teo Macero on tenor, Eddie Caine on alto and flute, Ernie Royal on trumpet, and Danny Bank on baritone. Nadi Qamar conducts, and other players include John Lewis on piano, Mingus on bass, and Kenny Clarke on drums – and Janet Thurlow sings on two titles, "Blue Tide" and "Eclipse". Other tracks include "Miss Bliss", "Pink Topsy", and the CD also features 2 alternates too. Jimmy Knepper heads the next date – a rare 10" outing from 1957, with some killer horn work throughout! The group's a quintet – and the album's easily one of Knepper's most hard-burning, thanks in part to some sharp alto lines from the great Joe Maini, a player we can never get enough of! The rest of the group features Bill Triglia on piano, Mingus on bass, and Dannie Richmond on drums – and titles include "Cunningbird", "The Masher", "Latter Day Saint", and "The Jumpin Blues" – plus four more bonus alternate takes. CD

One of the first albums to really show Blue Mitchell's genius as a leader – recorded past the more formulaic bop modes of some of his other Riverside sessions, and handled with a lyrical edge that really gets at the best aspects of his playing. Of course, part of the reason for this is that Blue's in the company of some of his Horace Silver bandmates – including drummer Roy Brooks, tenorist Junior Cook, and bassist Gene Taylor – but even more than that, the presence of a young Cedar Walton on piano really makes the set sparkle, as does the choice of some extremely strong material – such as "The Cup Bearers" and "Capers", both written by that young and glowing jazz compositional lumiary, Tom McIntosh, and the tunes "Turquoise, written by Walton, and "Dingbat Blues", written by Charles Davis. Forgive the long sentence, but the quality of this one's best expressed in a single breath! CD

A hip session from Blue – one that points the way towards some of his later work on Blue Note, and which features a larger than usual group arranged by Jimmy Heath. As on some of Heath's other projects from the time, the groove is tight and soulful, but never so dominant as to overwhelm the soloists. Mitchell's the main player, of course – but the rest of the group features work by Heath, Pat Patrick, Jerome Richardson, and Wynton Kelly. Tracks include "A Sure Thing", "West Coast Blues", "Hootie Blues", and "Hip To It". CD

Great early work from bassist Red Mitchell – one of his few sets as a leader in the US, before going on to a wide range of records overseas! The lineup is unusual – as Red is working with a group that features the great James Clay on flute and tenor, alongside Lorraine Geller on piano, and Billy Higgins on drums – and tracks are longer than usual for a Contemporary Records session – which gives Clay some moments to stretch out, spurred on by the lively drumming of Higgins. Titles include "Sandu", "Paul's Pal", and "Out Of The Blue". CD

A stone classic from the Modern Jazz Quartet – recorded back when the group still featured Kenny Clarke in its membership, but already with some of the more serious, somber tones that would mark the combo's more famous years! Tracks here are from a variety of sessions in 1953, 1954, and 1955 – and trace an evolution of the MJQ style from initial more composed renditions of bop and modern jazz, to some of the more ambitious colors and tones of the Lewis-penned songbook. Titles include longish readings of "Django" and "La Ronde Suite", plus "Milano", "But Not For Me", "The Queen's Fancy", and "Delaunay's Dilemma". CD

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

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

A brilliant title for this brilliant album from Thelonious Monk – a set that really has him coming back strongly in the second half of the 50s – with a new talent for arrangements that really goes past his previous work! Monk's piano and compositions are every bit as great as before – but what really makes the album amazing is his ear for horn lines – particularly the alto of Ernie Henry and tenor of Sonny Rollins, both of whom add in an additional angular quality to Monk's groove. Clark Terry replaces Henry on a few numbers – and the rhythm is from the wonderful team of Oscar Pettiford and Max Roach – on classic long takes of "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing". CD

A brilliant title for this brilliant album from Thelonious Monk – a set that really has him coming back strongly in the second half of the 50s – with a new talent for arrangements that really goes past his previous work! Monk's piano and compositions are every bit as great as before – but what really makes the album amazing is his ear for horn lines – particularly the alto of Ernie Henry and tenor of Sonny Rollins, both of whom add in an additional angular quality to Monk's groove. Clark Terry replaces Henry on a few numbers – and the rhythm is from the wonderful team of Oscar Pettiford and Max Roach – on classic long takes of "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing". LP, Vinyl record album

A key classic from Thelonious Monk's years at Riverside – and an album that's as compelling as its haunting title! The session features Thelonious working with a great quartet that includes Johnny Griffin on tenor, playing these wonderfully angular lines; Ahmed Abdul-Malik on bass, working in well-rounded tones that add a lot of depth to the work; and Roy Haynes on drums, bringing in a playfully rhythmic spirit that really matches the tone of Monk's compositions – a wonderful quartet to interpret the thoughtful, angular, inventive numbers on the set – not just Monk's own tunes, but some killer arrangements of a few classics too. Tracks are all longish, and the album features key readings of "In Walked Bud", "Misterioso", "Nutty", and "Let's Cool One" – includes two bonus tracks. CD

A landmark in jazz – easily one of Thelonious Monk's greatest albums ever, and a magical crossroads of talents that brings together a variety of jazz traditions! The work is performed by an ambitious Monk septet that includes both Coleman Hawkins and John Coltrane on tenor – and if you've ever doubted the brilliance of Hawk, this is the record to change your mind. The rest of the group is equally great – with Ray Copeland on trumpet, Gigi Gryce on alto, Wilbur Ware on bass, and Art Blakey on drums – all coming together with Monk to craft a perfect set of tunes that are virtually the definition of "modern jazz". Titles include "Abide With Me", "Off Minor", "Crepuscule With Nellie", and "Epistrophy". CD features 2 bonus tracks – alternates of "Off Minor" and "Crepuscule With Nellie". 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 cooker from Thelonious Monk – recorded during his legendary run at the Five Spot in the late 50s, and featuring some especially great work on tenor from a young Johnny Griffin! Griffin's filling a role here that would be cemented a bit more firmly in the 60s by Charlie Rouse – but what we like about his playing here is that it's not as clearly codified "Monkish" as some of Rouse's work (even though that's all pretty darn great) – sometimes a bit more open, although still filled with angular tones and changes on this set of all-original compositions by Monk. Rhythm is by Ahmed Abdul-Malik on bass and Roy Haynes on drums – and titles include "Evidence", "Epistrophy", "Blue Monk", "Rhythm-a-ning", "Light Blue", and "Coming on the Hudson". CD features 3 bonus tracks too – "Unidentified Solo Piano", "Blues Five Spot", and "In Walked Bud/Epistrophy". CD

A classic cooker from Thelonious Monk – recorded during his legendary run at the Five Spot in the late 50s, and featuring some especially great work on tenor from a young Johnny Griffin! Griffin's filling a role here that would be cemented a bit more firmly in the 60s by Charlie Rouse – but what we like about his playing here is that it's not as clearly codified "Monkish" as some of Rouse's work (even though that's all pretty darn great) – sometimes a bit more open, although still filled with angular tones and changes on this set of all-original compositions by Monk. Rhythm is by Ahmed Abdul-Malik on bass and Roy Haynes on drums – and titles include "Evidence", "Epistrophy", "Blue Monk", "Rhythm-a-ning", "Light Blue", and "Coming on the Hudson". CD features 3 bonus tracks too – "Unidentified Solo Piano", "Blues Five Spot", and "In Walked Bud/Epistrophy". CD

A full length set that compiles earlier sessions cut under either the name of Thelonious Monk or Sonny Rollins – most of them together in the same group! At the time of recording, Monk was an established figure on the bop scene, but Rollins was still a fresh voiced up-and-comer – yet they work together beautifully here on an early take of "Friday The Thirteenth" which really benefits from Rollins' voicing on tenor, next to Monk's angular arrangement. The pair also perform "The Way You Look Tonight" and "I Want To Be Happy" with a quartet – twisting the familiar tunes into strongly Monkish territory – and the album's last 2 tracks, "Nutty" and "Work" are performed by Monk with a trio that includes Percy Heath on bass and Art Blakey on drums. CD

A famous European set from Thelonious Monk – recorded early in the 60s with his famous quartet that included Charlie Rouse on tenor! Even at this point before the Columbia sides, Rouse is already amazing – really stretching out in these modern, angular lines that are quite different than any of his recordings a few years before – a perfect match for the inventive piano of Monk, as would later be demonstrated on a host of classic studio recordings. There's an open, spontaneous energy between the pair in this live setting, though – almost like they're working out new ideas, but doing so perfectly – with the bass of John Ore and drums of Frankie Dunlop to round things out. Titles include "Bemsha Swing", "Crepuscule With Nellie", "San Francisco Holiday", "Body & Soul", "Straight No Chaser", and "Epistrophy". CD

A unique large group effort from Thelonious Monk – but one that bristles with all the angular energy of his other great work for Riverside! The group here is a tentet – filled with excellent players who include Donald Byrd, Phil Woods, Pepper Adams, Eddie Bert, Robert Northern, and Charlie Rouse – all supported by rhythm from the team of Sam Jones on bass and Art Taylor on drums, possibly one of the key factors for the success of the record! The album's comprised of Monk classics like "Little Rootie Tootie", "Thelonious", "Friday The 13th", "Off Minor", "Crepuscule with Nellie" and "Monk's Mood" – all arranged by Hall Overton, a little-remembered modernist from the 50s, but one with a keen dedication towards pushing new sounds from old formats! Overton really keeps the spirit of Monk's music intact here – penning charts that allow for plenty of solo space and the kind of cross-trading lines you'd hear in some of Monk's best multi-horn small group sides for Riverside! CD

Thelonious Monk plays the music of Duke Ellington – but as you can imagine, the sound here is quite different than usual! At a time when Ellington was working mostly in large group format for the mainstream, Monk's presentation of his standards in trio format is a wonderful way to unlock their nascent modernism – the angular tones, lines, and complex ideas that were still present in the orchestra readings of the tunes, but which would show up even more strongly in Duke's smaller group dates of the 60s. Many numbers bear the familiar Monk imprint – complicated lines on the keys and sharp changes that really reignite the numbers – and rhythm here is from Oscar Pettiford on bass and Kenny Clarke on drums. Titles include "Mood Indigo", "It Don't Mean A Thing", "I Got It Bad and That Ain't Good", and "Caravan". CD

A stunning pre-Columbia session from Thelonious Monk – a really great live date that has Monk's familiar quartet augmented by west coast players Joe Gordon on trumpet and Harold Land on tenor! Given that Charlie Rouse is already in the group on tenor, the addition of Land's horn makes for a very soulful set – and Gordon's one of those players we love whenever we get a chance to hear him on record, which isn't that often, given how few sessions he cut! Other players include John Ore on bass and Billy Higgins on drums – and titles include "Four In One", "Let's Call This", and "Worry Later". CD features 2 bonus tracks – a second version of "Epistrophy", and "Evidence". CD

A full length LP that brings together 2 earlier sessions by Thelonious Monk! The main part of the album is a legendary Monk quintet recording, done at a time when Thelonious was mostly pretty trio-heavy in the studio – and a set that features some great tenor by Frank Foster, alongside trumpet by Ray Copeland, bass by Curley Russell, and drums by Art Blakey! Tracks are longish, and although they have some Monkish moments, especially on the ballads, there's also some looser bop-style solo work from the horns. Titles include "Locomotive", "Hackensack", "We See", and "Smoke Gets In Your Eyes". Added to these tracks are 3 more by another quintet – one that features Sonny Rollins on tenor, Julius Watkins on French Horn, Percy Heath on bass, and Willie Jones on drums. Titles include 2 takes of "Think Of One", plus "Let's Call This". CD

A record that documents a meeting of two giants of modern jazz in the 50s – the angular genius Thelonious Monk, and the younger John Coltrane – a tenor player who was probably better-known for his work with Miles Davis during this period! The recordings are more Monk's than Coltrane's – Monk was signed to Riverside at the time – and the set mixes in three quartet tracks that have the pair working with Wilbur Ware on bass and Shadow Wilson on drums – plus two more from the sessions for the famous Monk's Music record – alternate takes from those sessions, with a larger group that features Gigi Gryce on alto, Coleman Hawkins on additional tenor, and Ray Copeland on trumpet! Quartet tracks include "Ruby My Dear", "Trinkle Trinkle", and "Nutty" – with the larger group on alternates of "Off Minor" and "Epistrophy" – and a solo performance by Monk on an alternate of "Functional". CD

The session's billed as "very personal treatments of great standards" – and it's a great twist on familiar material, all given the Thelonius touch! There's less of Monk's creative composition and angular group arrangements going on here – and instead, the album's almost a rewriting of 40 years of popular compositions, all taken into the modern world of Monk's piano. The group's a trio, with Oscar Pettiford on bass and Art Blakey on drums – and titles include nicely reworked versions of "Just You Just Me", "Memories Of You", "Liza", "Darn That Dream", and "Tea For Two". CD

An unlikely pair, but a great one here – and the record's one of those few magical moments where bringing together unusual partners actually works! Mulligan's cool hardly seems a match for Monk's angular modernism, but together the players seem to strike a middle ground that resonates with the strength of both – a sound that cuts a bit more edge on Gerry's normally smooth baritone, and which still lets Monk's keys flow into wonderful twists and turns. Rhythm is by the great bassist Wilbur Ware and drummer Shadow Wilson – and titles include the Monk classics "Straight No Chaser", "Rhythm A Ning", "Round Midnight", and "I Mean You" – plus a version of Mulligan's "Decidedly". CD

With grooves this great, the house must have been full – and the album's a gem of an early live date by Wes Montgomery, recorded in Berkeley with a quartet that includes Johnny Griffin on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums! The tunes have a nicely cooking feel throughout – even when they're more gentle ones – and the record's a good reminder that outside of the studio, Wes could sometimes play with a bit more force on the strings – raspily hitting notes that explode off the guitar with tremendous precision and a good deal of feeling. Titles include the Montgomery originals "Full House", "SOS", and "Cariba", plus the tunes"Blue N Boogie" and "Come Rain Or Come Shine". CD features 3 bonus tracks! CD

They're not kidding with the title of this one – because although the record was only Wes Montgomery's second album as a leader, he was already making plenty of waves with the sound of his guitar! The session lines Wes up with the very tight rhythm team of Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums – all of whom lay back and mostly let Wes take center stage – sparkling on a number of original tunes that include "West Coast Blues", "Mister Walker", and "D Natural Blues". Other tracks include a great fast take on Sonny Rollins' "Airegin", plus "In Your Own Sweet Way" and "Polka Dots & Moonbeams". CD

They're not kidding with the title of this one – because although the record was only Wes Montgomery's second album as a leader, he was already making plenty of waves with the sound of his guitar! The session lines Wes up with the very tight rhythm team of Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums – all of whom lay back and mostly let Wes take center stage – sparkling on a number of original tunes that include "West Coast Blues", "Mister Walker", and "D Natural Blues". Other tracks include a great fast take on Sonny Rollins' "Airegin", plus "In Your Own Sweet Way" and "Polka Dots & Moonbeams". CD

Wes Montgomery with a bit of sax and flute – a nice change from the sound of some of his other early records, thanks to key work on the set from James Clay! Clay plays mostly flute on the record, but does so with a hard edge that reminds us of Frank Wess' work from the same stretch – really bringing a raspy edge to the record, and seeming to bring out the same in Wes' guitar work. The rest of the group includes Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – and titles include the nice groover "Movin' Along", plus "So Do It", "Sandu", "Tune Up", and "Says You". CD

Wes Montgomery's first album as a leader – a relatively obscure set that has him playing in a trio with Indianapolis bandmates Mel Rhyne on organ and Paul Parker on drums – a mode that strongly recalls Montgomery's roots in the Indy scene at the time! If you only know the later, famous Wes Montgomery with bigger charts, you'll be surprised to hear him here in a cooking little combo – the kind of group that made Mel Rhyne a local Hammond hero in Indy, although it seemed to take decades for him to get any sort of larger recognition. The groove is straight and simple, but the real charm is Wes' chromatic lines on guitar – already quite distinctive among his contemporaries, and allowed ample room to express their voice in this setting. Titles include "Ecorah", "Missile Blues", "Too Late Now", "Jingles", and "Whisper Not". CD features 2 bonus tracks! CD

A mind-blowing set by James Moody, and one that shows him hitting some amazing new ground! The set's a real mixture of styles, and features some incredible post-Coltrane tenor work that will make you think you're listening to Wayne Shorter or Gary Bartz, instead of bop-man Moody. The album's also got one very groovy little vocal number with Eddie Jefferson called "Hey Herb! Where's Alpert?" – but although that track always makes us giggle, we keep coming back for the deep spirituality of "Don't Look Away Now", "Hear Me", and the great reworking of Moody's perennial "Darben The Redd Foxx". Great stuff, and an album that we consider to be one of the lost gems of the 60s! CD

James Moody on alto and tenor saxophone, Pee Wee Moore on baritone saxophone, William Shepherd on trombone, Dave Burns on trumpet, Jimmy Boyd and Sadik Hakim on piano, John Lathan on bass, Clarence Johnson and Joe Harris on drums, with vocals from Eddie Jefferson and Iona Wade. CD

A beautiful early session on Charles Mingus' Debut Records label – one that features singer Ada Moore – a thin-voiced, yet soulful songstress with an edgey sort of tone! The album's got lots of nice rough edges that take it away from the cliched vocal album of the time – including searingly modern solos from LaPorta, slightly muted guitar work from Farlow, and an overall recording style that's very "roomy" – with almost a loft-like feel to the set. Titles include "Something To Live For", "Strange Fascination", "Devil Is A Woman", and "Lass From The Low Country". CD features 4 bonus alternate tracks! CD

Excellent later work from Frank Morgan – the legendary LA altoist who first burned brightly in the bop generation, then came back to make really rich recordings like this! The set's got Frank in some really great company – a hip sextet that features Joe Henderson on tenor, Bobby Hutcherson on vibes, Mulgrew Miller on piano, Ron Carter on bass, and Al Foster on drums – a sweet modern jazz lineup that ensures that the record's filled with sharp changes and deep colors – arguably a lot more so than some of Morgan's later revival sessions – with a vibe that's much more like some of Hutcherson or Henderson's best from the 80s. Titles include "Old Bowl New Grits", "Starting Over", "Reflections", "OK", and "Black Narcissus". CD features a bonus track – "Caravan". CD

A great date from the later revival years of altoist Frank Morgan – thanks to a warm performance from the Cedar Walton trio! One of the great things about late Morgan is the way in which he's able to really fit himself into different settings – still holding onto his soulful roots, but also fluidly picking up the best elements of the groups he works with – such as the rich tones and soaring styles that Walton brings to this session! Cedar's piano always sounds great with a horn, and the warmth in Morgan's alto is quite a different match than some of Walton's tenor-driven sessions – and bassist Tony Dumas and drummer Billy Higgins keep things in just the right subtle side of the spectrum to fit the mood. Titles include "The Rubber Man", "Yes & No", "Manha De Carnaval", "Now's The Time", "Three Flowers", and "Third Street Blues". CD

A rare non-Blue Note outing from Lee Morgan – and a record that's sometimes mistaken as a large group effort because of the "twelve" in the title, but which is a tight small group set that's equally cooking as some of Lee's better known records! As with the best mid 60s Blue Note work from lee, the players here are both soulful and modern – able to shift easily into some of Lee's most complicated ideas of jazz expression, yet always doing so in ways that are never stiff or academic – but filled with life and spirit in every note! Clifford Jordan's tenor is a fantastic accompaniment to Morgan's trumpet in the frontline – and Barry Harris' piano has the warmth and flowing quality of a young Cedar Walton on most tracks. Bass is by Bob Cranshaw and drums are by Louis Hayes – and titles include "Lee-sure Time", "Second's Best", "Little Spain", and "Waltz For Fran". CD also features 1 bonus track! CD

Given what a freewheeling, open-minded, and lyrical jazz singer Mark Murphy is, it's hard to imagine him really loving "the blues" – and fortunately, most of that love is extended in the title, because the album itself is less of the blues effort that you might think. True, the tracks are numbers that often have "blues" in the title – but the arrangements are by Al Cohn, and have a swinging approach that's in keeping with Murphy's other early 50s work. Titles include "Blues You're The Mother Of Sin", "Blues In My Heart", "Fiesta In Blue", "That's How I Love The Blues", "Blues In The Night", and a reading of "Senor Blues" that's worth the price of the record alone! CD

One of the first larger concept albums from Oliver Nelson – and a set that really marked a strong step forward as a jazz arranger! The album is one long suite – as you might guess from the title – with righteous themes that deal not just with rising independence in postwar Africa, but also the Civil Rights struggle in the US – performed by a superb lineup that includes Jerry Dodgion on alto and flute, Eric Dixon on flute and tenor, Joe Neman and Ernie Royal on trumpets, Melba Liston and Billy Byers on trombones, Patti Brown on piano, Art Davis on bass, and Ray Barretto on congas. Nelson is fantastic too – and blows tenor and alto with some fantastic moments. Passages of the suite include "Disillusioned", "Freedom Dance", "Emancipation Blues", and "Jungleaire". CD

A relaxed small group session from saxophonist Oliver Nelson – a record that's quite different than some of his more tightly arranged dates, and a good reminder of this side of his talents! Oliver plays both alto and tenor sax on the album, and he's joined by a perfect group for the easy rolling groove of the tracks – Joe Newman on trumpet, Hank Jones on piano, George Duvivier on bass, and Charlie Persip on drums – plus a young Ray Barretto on congas, who brings in the loping, stepping groove you find on other early 60s soul jazz sets of this nature. Nelson's sax is always a treat – blown with a sharper edge than you might hear with a big group – and the tracks are all quite fress too, and include "Tipsy", "Mainstem", "Ho!", "J&B", and "Latino". CD

One of the most open-ended and laidback records ever from Oliver Nelson – a set that gets away from the tighter arrangements of other albums, and really lets you concentrate on his saxophone work! The album's got a really wonderful feel throughout – easygoing and soulful, with work by a sextet that includes Eric Dolphy on alto, Richard Williams on trumpet, and Richard Wyands on piano – all grooving beautifully with immaculate Rudy Van Gelder production – used here with a slightly echoey quality that really deepens the sound of the set! Nelson plays both alto and tenor sax – and titles include "Screamin The Blues", "Alto-It is", "The Meetin", "The Drive", "Three Seconds", and "March On March On". CD

A great little small group session by Nelson – one that has him working in a quintet with Eric Dolphy, one that shows that Nelson could be a strongly modernist player when he wanted to be! Dolphy plays alto, bass clarinet, and flute – and Nelson's tone is appropriately biting to match the set – way harder and stark than on some other albums, with an edge that we really like a lot! Rhythm is by Richard Wyands, George Duvivier, and Roy Haynes – and titles include "Ralph's New Blues", "Straight Ahead", "111 44", and "Images". CD

Oliver Nelson is definitely taking care of business here – thanks to some key help from the great Lem Winchester on vibes, and a young Johnny Hammond Smith on organ! The pair bring a mighty deep groove to the record – which gives Nelson a chance to show off some of the deeper tones on his tenor and alto sax – a sound that gets a lot more space for personal expression than on some of his albums with larger arrangements! The raw sound of the record is a great change from the more composed modes you might know from Oliver's other dates – and the set's further illustration that Nelson was one of the most complete, most versatile talents in jazz at the time. Titles include "Trane Whistle", "In Time", "Groove", and "Lou's Good Dues". CD

Wonderfully romping work from Phineas Newborn – and a great showcase for the harder side of his sound on the piano, something that didn't always show up on his RCA albums of the 50s! The style here has plenty of bluesy overtones – not in a cliched soul jazz way, but in an earthy mode that's natural and spontaneous – thanks, possibly, to some excellent rhythm accompaniment from the team of Sam Jones and Louis Hayes, who work with Phineas on side two of the record. Side one features Leroy Vinnegar and drummer Milt Turner – and titles include the originals "Theme For Basie" and "New Blues" – plus versions of "This Here", "Way Out West", "Four", and Bud Powell's "Celia". CD

A later issue of material recorded in the late 60s by Phineas for Contempoary – tunes from the sessions for the album Please Send Me Someone To Love, but which didn't make the cut at the time – and are here issued a decade after the original recordings! The group on the set features Ray Brown on bass and Elvin Jones on drums – a slightly strange lineup for the record, given that Phineas is exploring the keys in a relatively traditional mode – a format that works well with the round, careful tones of Brown, but which is sometimes oddly punctuated by Jones' more forceful drum work. Titles include "Harlem Blues", "Sweet & Lovely", "Little Girl Blue", "Stella By Starlight", and "Ray's Idea". CD

The first album from Phineas Newborn in a number of years – and a set with a strong enough sound to warrant the "Phineas Is Back" in the title! Newborn's sound here has hardly dimmed at all – and he's still got that great blend of complicated flourishes and bluesier undercurrents that first made him an up and comer back in the 50s. The outing's a trio one – with drummer Jimmy Smith and bassist Ray Brown – both working with Phineas in a simple, unadorned way that allows the strongest focus on piano! Titles include "Salt Peanuts", "The Man I Love", "Abbers Song", "Tamarind Blues", and "Donald's Dream". CD features the bonus track "Just In Time". CD

The Newborn Touch is always a great one, but it sounds especially nice on this record – a set that seems to go even farther than any of Phineas' earlier trio sessions! There's an almost-ambitious sound to the record that we really like a lot – one that possibly comes from Newborn's choice of compositions for the set, a great bag of non-standard tunes from some of his west coast contemporaries – tracks penned by Ornette Coleman, Art Pepper, Hampton Hawes, Jimmy Woods, and others – some of which are decidedly more modern than the material that Newborn usually plays! There's a complexity here that's great – but one that still doesn't forget Newborn's down-home roots – and titles include "A Walkin Thing", "Be Deedle Dee Do", "The Blessing", "Diane", "Pazmuerte", "Hard To Find", and "Blue Daniel". CD

Maybe not a "world" of piano, but a real classic from Phineas Newborn – a record that marks a harder, more soulful sound than some of his 50s work – shaking free from some of his flowery touches on the keys, and digging much deeper into the groove of his Memphis roots! The sound here is really tremendous – boldly leaping forth from the keys with a strength that's really surprising – but still sensitive enough to slide in a few more contemplative notes when the moment calls – sometimes while Newborn is still racing down the keys at breakneck speed! Rhythm on both sides is great – with Paul Chambers & Philly Joe Jones on side one, and Sam Jones and Louis Hayes on side two – and titles include "Cheryl", "Manteca", "Oleo", "Daahoud", "Cabu", and "For Carl". CD

Joe blows it strong and mellow – in this spare swinging group that includes Frank Wess on tenor, Tommy Flanagan on piano, Eddie Jones on bass, and Oliver Jackson on drums. Tracks are warm and unpressured, more in a Verve mode than a Prestige one – and titles include "Wednesday's Blues", "Jive At Five", "Taps Miller", and "Cuein The Blues". CD

One of the first moments of genius as a leader from saxophonist/arranger Lennie Niehaus – a set that has Lennie stepping out of the larger Stan Kenton orchestra, into the limelight with a hip quintet that includes Jack Montrose on tenor, Bob Gordon on baritone, Monty Budwig on bass, and Shelly Manne on drums. The feel here is quite similar to the best Montrose/Gordon collaborations from the time – impeccably tight reed lines, but still played with enough sense of soul to bring in a good deal of humanity to the otherwise modern setting. The tracks are tight and short – and titles include "Bottoms Up", "I Remember You", "Poinciana", "I Should Care", "Inside Out", "Prime Rib", and "Happy Times". CD

Sublime work from this oft-overlooked alto player – a wonderful album that features Lennie playing in quintets with Bill Perkins, Bob Gordon, Stu Williamson, and Hampton Hawes – plus added string quartet backings on most of the tunes – making for a shimmering sound that's really magical! The album has traces of Charlie Parker's work with strings – in that Lennie's alto soars over the top of the arrangements with a mellifluous glide and incredible precision, never getting too buried in the arrangements, and striking out with more soul than we've heard on some of his smaller combo records. Titles include "All The Things You Are", "Cross Walk", "Troubled Waters", "Rondo", "Star Eyes", and "Lens". CD

A gem of a session from Lennie Niehaus – one of his best 50s albums for Contemporary, and one of his most obscure too! The album features Lennie's alto in the company of a group that includes Bill Perkins on tenor and flute, Jimmy Giuffre on baritone, and Stu Williamson on trumpet. There's no piano at all in the group, and the four horns come together magically – with a well-composed sound that's got all the tightness of LA in the 50s, but with more than enough solo room ot let Lennie and the others sparklet. Titles include "Belle Of The Ball", "Fond Memories", "Knee Deep", "Take It From Me", and "Elbow Room". CD

Great lean grooves from vibist Red Norvo – exactly the kind or record that shows why he was such an amazing talent on his instrument in the 50s! The album has Red working without piano or drums – just the guitar of Jimmy Raney and bass of Red Mitchell – both players who are hipper than the usual cats to handle their instruments too, especially Raney, whose sharp tone is a great match for Norvo's vibes. Red's vibes are way up front on most of the tracks, but leave plenty of space for the other players to shine, especially Raney's guitar work on "J9 Hate K9" and "Out Of Nowhere". Other tracks include "Crazy Rhythm", "Puby La Keg", "Just One Of Those Things", "Everything I've Got", and "Prelude To A Kiss". CD

A legendary live performance, and one that's often billed as a high moment in the history of bebop – a special concert-only group that brings together five key bop heavyweights – Charlie Parker on alto, Dizzy Gillespie on trumpet, Bud Powell on piano, Charles Mingus on bass, and Max Roach on drums – all coming together in a unique one-off performance! The set was recorded up in Canada, and represents one of the first widely-circulated live recordings of a straight bop set – different than some of the mix of styles you'd get on a JATP record, with long tracks that really show the nonstop creative energy that shifts between the players. The original vinyl release broke the concert out into two records – and this is the quintet material, with titles that include "Perdido", "Salt Peanuts", "All The Things You Are", "Wee", and "Hot House". CD

A beautifully-toned set from guitarist Joe Pass – and a great demonstration of why he was recorded so heavily by Pablo Records during his later years! Joe's sound here is clear and clean, but richly chromatic too – a wellspring of full feelings, but with a great degree of subtlety too – a big change from the way so many other guitarists were playing at the start of the 80s. The trio here features Niels Henning Orsted Pedersen on bass and Martin Drew on drums – and titles include "Robbins Nest", "Lush Life", "A Foxy Chick & A Cool Cat", "Night & Day", "Love For Sale", "Speak Low", and "Everything I Love". CD

Hardly the tribute to Charlie Parker you might guess from the title – but only because the sound of Joe Pass here is so unique! Unlike other, more bop-heavy Bird tributes – this one takes a batch of tunes from Parker's "with strings" sessions – then recasts them into gentle solo guitar numbers played by Pass with a very warm, open tone – quite different than the sharper alto reedwork of Bird – but almost equally wonderful in its own way – especially as Pass has almost a bossa guitar sensibility at times! Titles include "Just Friends", "Laura", "Out Of Nowhere", and "If I Should Lose You". CD

Joe Pass plays a host of Gershwin-penned material – working in a spare combo with a slightly different sound than usual! Pass' guitar still has that deep, round tone that you'll hear on his best Pablo sides – but the group also features rhythm guitar from John Pisano, who makes for a bit of contrast with Joe – almost a second voice that makes things more interesting than a usual trio date. Other players include Jim Hughart on bass and Shelly Manne on drums – and titles include "Soon", "Oh Lady Be Good", "Love Is Here To Stay", "Embraceable You", and "How Long Has This Been Going On". CD

Solo guitar by Joe Pass – a beautiful little album that's a perfect showcase for the new sensitivity in his music during his years at Pablo records! The Joe Pass heard here is light years away from the guitar player who made a few gimmicky records a decade before – and this album has Joe coming across with a gentle, but sophisticated approach to his instrument that we never would have expected in the past! Titles include "Off Beat", "Sultry", "Trinidad", "Ninths", "Minor Detail", and "Nina's Blues". CD

A double length collection of solo guitar tracks recorded in 1973, but not released until 1983. The format is a perfect showcase for the new sensitivity Joe Pass brought to his instrument at Pablo records and is light years away from some of the gimmicky records of a decade before – full of gentle sophistication we never would have expected in the past! CD

Duets between two players with plenty of chops – Joe Pass on guitar and Pedersen on bass – on titles that include "Have You Met Miss Jones", "95 Blues", "Tricotism", "Old Folks", and "Quiet Nights". CD

Joe Pass on guitar and Niels Henning Orsted Pedersen on bass. CD

One of the best Joe Pass albums from the 70s – largely because he's working with such a great group of Brazilian players! Besides percussionist Paulinho Da Costa, the musicians also include drummer Claudio Slon, as well as Oscar Castro Neves, Don Grusin, and Octavio Bailly. Tracks are light and breezy, with a good west coast Brazilian feel – and titles include "Tears", "Wave", "If You Went Away", "Luciana", and "I Live To Love". CD

Joe Pass on guitar, Milt Jackson on vibes, Ray Brown on bass, and Mickey Roker on drums. CD

A stone cooker from organist Don Patterson – and one of his best fuller group recordings for Prestige from the 60s! Patterson is best known for his work on the label with his trio that included guitarist Pat Martino and drummer Billy James – and while that unit is intact here, they're also augmented by Howard McGhee on trumpet and Charles McPherson on alto – for a rich, full sound that adds a bit of hardbop into Patterson's normally soul jazz focus. The tracks are all nice and long, and filled with a deeper set of colors and tunes than usual for Don. Titles include "Pisces Soul", "Island Fantasy", and "Donna Lee". CD

Incredible work from alto genius Art Pepper – one of our favorite albums ever by the saxophonist – and a set that we actually love even more than his classic albums for the Contemporary label! Art's in a setting here that really lets him put a lot of edginess on his horn – demonstrating that sharper tone he brought to the alto, with a lot of bite in the best sort of setting – of which this album is one! The group is nicely focused – and includes Russ Freeman on piano, Ben Tucker on bass, and Gary Frommer on drums – working with Art to give the album a very urgent, upfront sort of vibe. The set's comprised of nearly all original tracks – and titles include "Arts Opus", "Pepper Pot", "Val's Pal", and "Diane". CD's also got 5 bonus tracks, which are alternate takes of tracks on the album. Great stuff, and one to buy if you've ever wondered why you should think Pepper is so great! CD

A legendary album from alto genius Art Pepper – a set in which he meets up with the famous Miles Davis rhythm section of the time – Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums – a trio of players who really help send the album over the top! There's maybe a bit more of a crackle in the rhythms here than on some of Art's other 50s records – which makes for a classic meeting of east and west coast scenes, and some especially nice raspy lines from Pepper – delivered at that level that always made his music of this period so nicely complex – outwardly cool, but with some seething energy at the core. Titles include a definitive take on Art's classic "Straight Life" – plus "Waltz Me Blues", "You'd Be So Nice To Come Home To", and "Star Eyes". CD

A record that marks the live recording debut of the alto giant Art Pepper – quite a surprise, given that he'd already had many years of playing under his belt – but also a date that captures Art at a time of real revival in his career – stretching out with new inspirations, and a sound that's very different from the Art Pepper of the 50s and 60s! The group features George Cables on piano, George Mraz on bass, and Elvin Jones on drums – on titles that include "But Beautiful" and "Caravan", plus two Pepper tunes "Labyrinth" and "Las Cuevas De Mario". CD

One of Art Pepper's most classic sets for Contemporary – a record that puts him in the company of the Miles Davis rhythm section – Jimmy Cobb on drums, Paul Chambers on bass, and Wynton Kelly on piano – who make up 3/5 of a quintet that also includes trumpeter Conte Candoli! The tracks open up a bit more from some of Pepper's 50s work in LA – arguably a bit tighter at times, and possibly a bit more "classic" – at least to longtime fans of the set. There's a bit less edge here than on some of Art's other 50s dates, but the album's still a great one – with titles that are a mixture of originals like "Getting Together", "Diane", and "Bijou The Poodle", plus a few other strong numbers, like Chambers' "Whims Of Chambers" and Dory & Andre Previn's "Why Are We Afraid?" CD

Art's blowing with a quiet intensity here – not as far out as you might expect from the title, but with that crisp genius that still graced all of his records from the time! The album features a quartet with Dolo Coker on piano, Jimmy Bond on bass, and Frank Butler on drums – working in a format that gives Art center stage, blowing with a slightly raspy tone that still always sends chills up our spine! There's a maturity here that we really like – that later Contemporary mode that has Pepper breaking things down a bit more than usual, and showing a bit more humanity in his horn. Titles include "Too Close For Comfort", "Gone With The Wind", "Long Ago & Far Away", and "I Love You". CD also features the bonus track "Five Points". CD

An excellent 70s side from Art Pepper – recorded with a West Coast rhythm section that includes Hampton Hawes, Charlie Haden, and Shelly Manne! The trio all play here with a remarkable intensity, given the date of the session – and although the production's got that later, crisper Contemporary tone, it still lets Art's horn come through beautifully! Pepper's singular voice and beautiful phrasing are still intact, and the quartet cooks nicely on half a dozen numbers, mostly Pepper originals – "Ophelia", "Here's That Rainy Day", "What Laurie Likes", "Mr Yohe, "Lost Life", and "Samba Mom-Mom". CD features 1 bonus track! CD

A nice lost late number from Art Pepper – a freewheeling set of tracks that really show the influence of John Coltrane on Pepper's work – cut with a quartet that includes George Cables on piano, Tony Dumas on "blitz bass", and Carl Burnett on drums. The tracks are long, and two numbers have a really nice Latiny flair – with Art spinning out some aggressive solos on top of fast-running grooves, in a way you'd be surprised to hear on one of his albums from the time! Titles include "Rita San", "My Laurie", "Ballad of The Sad Young Men", and "Mambo De La Pinta". CD also features one bonus track – "No Limit", which oddly wasn't on the original album – even though it's got the same title! CD

A record that marks the live recording debut of the alto giant Art Pepper – quite a surprise, given that he'd already had many years of playing under his belt – but also a date that captures Art at a time of real revival in his career – stretching out with new inspirations, and a sound that's very different from the Art Pepper of the 50s and 60s! The group features George Cables on piano, George Mraz on bass, and Elvin Jones on drums – on titles that include "You Go To My Head", "The Trip", and "Cherokee". CD

Features Art Pepper on alto, Tommy Flanagan on piano, Red Mitchell on bass, and Billy Higgins on drums – on titles that include "Surf Ride", "Make A List", "Nature Boy", "Straight Life", and "September Song". CD

A record that marks the live recording debut of the alto giant Art Pepper – quite a surprise, given that he'd already had many years of playing under his belt – but also a date that captures Art at a time of real revival in his career – stretching out with new inspirations, and a sound that's very different from the Art Pepper of the 50s and 60s! The group features George Cables on piano, George Mraz on bass, and Elvin Jones on drums – on titles that include "Valse Triste", "Goodbye", "Blues For Les" and "My Friend John". CD

A soaring later date from Art Pepper – recorded with excellent rhythm from the trio of Stanley Cowell on piano, Cecil McBee on bass, and Roy Haynes on drums – plus a bit of percussion from Kenneth Nash too! CD

The "trip" here is a mellow one – not the soaring, spacey style you might expect in a long line of drug-reference titles for Art Pepper albums – but that difference is a-ok with us, because Art's really hitting some great new territory here, thanks to a hip trio that includes George Cables on piano! Tracks are long and stretched out – but in a way that's gently exploratory, and focused on a really warm sense of tone – in a mode that we might liken slightly to Stan Getz at his best moments from the same period, particularly the groove he developed in his post-Sweet Rain years. Other members of the quartet include David Williams on bass and Elvin Jones on drums – and tracks include "The Trip", "Sweet Love Of Mine", "Song For Richard", "Red Car", and "The Summer Knows". CD features 1 bonus track! CD

A beautiful, late "with strings" session from Art Pepper – with piano by Stanley Cowell and Cecil McBee on bass! CD

A great spare set from Art Pepper – a date that features Art on alto and clarinet, with piano from George Cables. CD

Unusual stuff – just duets between Pepper's alto and the piano of George Cables – nice and intimate! CD

A great stripped-down set – just the piano of Oscar Peterson and trumpet of Clark Terry! CD

Oscar Peterson and Harry Edison – two giants from the Verve Records scene of the 50s, reunited here in a wonderfully stripped-down setting! The album features only Oscar's piano and Edison's trumpet – both instruments given plenty of room to open up and improvise freely in each other's company – inflecting a set of standards and familiar jazz tunes with rich new colors and hues – almost as if we're dropping in on a personal conversation between the pair! The set features a great reading of "Days Of Wine & Roses" – almost more optimistic than most – and other tunes include "You Go To My Head", "The Man I Love", "Mean To Me", "Signify", and "Basie". CD

A beautiful pairing of Oscar Peterson and Stephane Grappelli – two artists who'd recorded together before, but who sound especially nice in this live setting! The group's a quintet – with the guitar of Joe Pass, bass of Niels Henning Orsted Pedersen, and drums of Mickey Roker – but many moments feature these open passages where Peterson or Grappelli dominate – the latter of whom is fluid and swinging in a way we don't always hear this well. Titles include "Nuages", "That's All", "Skol Blues", "How About You", and "Someone To Watch Over Me". CD features three previously unissued bonus tracks from the same performance – "Solitude", "Honeysuckle Rose", and "I Got Rhythm". CD