An amazing set from altoist Sonny Red – a player who hardly ever got to make any albums as a leader, and who really burns brightly on this Blue Note classic! Red's got a tone on alto that's as deep and sharp as most tenorists of his generation – extremely soulful, but with a really raspy edge that's almost modern at times – a combination that's quite unique, and which makes his playing on a few key albums well worth tracking down. This album's one of the best of Sonny's few dates on record – and it features the saxophonist working with two different groups – both headed by Wynton Kelly on piano, and with either Sam Jones or Paul Chambers on bass, and either Roy Brooks or Jimmy Cobb on drums – a hell of a great rhythm lineup, no matter how you slice it! Both groups are right on the money, and the whole album swings very nicely – and titles include "Alone Too Long", "The Lope", "Nadia", "Bluesville", and "Blues In the Pocket". LP, Vinyl record album

Fantastic work by one of the unsung heroes of Sun Records – 16 titles that include "Thunderbird", "Sadie's Back In Town", "All My Sins Taken Away", "Restless", "Going Home", "Red Headed Woman", "You're Not The One For Me", "Tomorrow Night", and "Feel So Good". LP, Vinyl record album

An excellent set of trio material by Max – and one of the best overlooked sessions by Sonny Clark! The small group setting gives Clark a lot of room to move around on piano – especially since he's the main soloist – and the album has a nice tight snapping sound, with lots of nice tracks like "Sonia", "My Conception", "Minor Meeting", and "Blues Mambo". Also features a version of "Sonny's Crib" – mis-labeled here as "Sonny's Crip"! LP, Vinyl record album

Sublime work from Stitt! The record has a subtle genius that's impossible to describe with words – as Stitt's tone and economy on the album's solos are the pure stuff that you only find after panning through an endless stream of post-bop LPs by players of his generation. The album's drenched in mature soul, with no tricks, no BS, and an approach to jazz that's remarkably uncomplicated, yet fiercely compelling. We can't tell you why this one works so well – but it does, and it's the kind of vinyl-only treasure that makes Stitt one of the most satisfying players of his generation to collect. And with a host of amazing work that's never been reissued – why not? Titles include "Old Fashioned Blues", "Red Top", "I Never Knew", and "Hitsburg" – but again, the titles only give you part of the picture, and you've got to hear the record to believe! LP, Vinyl record album

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

The title may be a simple one, but the record really marks a key point in John Coltrane's development – an embrace of the newer freedoms allowed to him at Atlantic Records, but in a way that's a bit more subtle than some of his other work for the label! At one level, the record moves at the same groove as Trane's later Prestige years – with rhythm mostly from Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – carving out some sharp lines for Coltrane to cascade over on tenor sax. Yet there's also a new sense of darkness here too – one that moves into edgier territory, and which isn't nearly as settled in as before. These qualities sneak out of both original numbers like "Harmonique", "Fifth House", and "Like Sonny" – as well as standards like "My Shining Hour" and "Little Old Lady". And they really come to the forefront on the classic "Village Blues" – the one track that features the new Coltrane group of McCoy Tyner, Steve Davis, and Elvin Jones! LP, Vinyl record album

The second album by The Freedom Sounds – a very cool west coast soul jazz collective, headed by Wayne Henderson, and featuring a great mix of jazz, soul, and Latin rhythms! This set's a little more ambitious than the group's first album – with a number of tracks that groove in a very strong Latin jazz mode, sounding a lot like some of the best work on Atlantic at the time by Mongo Santamaria, Hubert Laws, and others. Henderson's trombone is still a key solo instrument, but the album also features some incredible sax work from Willie Gresham – a player we know little about, but who makes the album cook in the same fantastic way that Hubert Laws and Sonny Fortune did for Mongo's best work of the 60s! The grooves are very right-on, with plenty of excellent percussion work – and titles include the originals "Love-Out", "Behold The Day", and "Soul Sound System", plus some groovy covers, like "All You Need is Love", "What The World Needs Now Is Love", and "Are You Sure?" – all done with a great Latiny groove! LP, Vinyl record album

An excellent set that brings together Fats Navarro's recordings for Savoy – late 40s sides that were always poorly packaged and annotated on record, which are compiled here wonderfully, with great notes, and a few unissued tracks! Players include Leo Parker, Kenny Dorham, Sonny Stitt, Ernie Henry, Tadd Dameron, Kenny Clarke, Art Blakey, and Charlie Rouse – and the set's got a huge amount of titles, including "Boppin A Riff", "Fat Boy", "Everything's Cool", "Webb City", "Fracture", "Calling Dr Jazz", "Red Pepper", "Spinal", "Fat Girl", "Ice Freezes Red", "A Bebop Carol", and "The Tadd Walk". LP, Vinyl record album

A confusing title, but a wonderful little record! The album's as much a Herbie Mann Latin session as it is a record by Johnny Rae – which is probably why the album's titled as such – and the group on the set features Rae on vibes, Herbie on flute, Jack Six on bass, Philly Joe Jones on drums, Bobby Corwin on piano, and Jose Mangual, Patato Valdes, and Victor Pantoja on an assortment of Latin and African percussion. The groove is tremendous – Latinized jazz, but with a real tension between the heavy percussion on the bottom and the ligher flute and vibes on the top – especially on the album's more tribal, African-styled numbers. The "suite" features 7 tracks in all – 5 composed by Herbie ("Sorimao", "Beouin", "Sudan", "Ekunda", "Guinean"), plus a version of Sonny Rollins' "St Thomas", and the track "Jungle Fantasy" by Noro Morales. LP, Vinyl record album

With selections by Nina Simone, Chris Norman and Suzi Quatro, Chico Hamilton, Sonny & Cher, Chuck Berry, The Doors, David Bowie, Clarence Carter, Seals & Crofts, James Gang, Blood Sweat & Tears, Taj Majal, and others. LP, Vinyl record album

With selections by Texas Alexander, Blind Lemon Jefferson, Cannon's Jug Stompers, Robert Johnson, Speckled Red, Victoria Spivey, Leadbelly, Big Bill Broonzy, Sonny Boy Williamson, Brownie McGhee, Lightnin' Hopkins, and Elmore James. LP, Vinyl record album

Includes selections by Otis Spann, Speckled Red, Sunnyland Slim, Champion Jack Dupree, Memphis Slim, and Sonny Boy Williamson. LP, Vinyl record album

One of our favorite Atlantic albums by the great Yusef Lateef – an incredible session that has him dipping back into his earlier exotic roots with those great reed styles of the early 60s – yet also hitting a mix of soul and funk like some of his other albums from the time! The sound is tremendous – wonderfully righteous, at a level that really set the tone for more ambitious soul jazz projects of the 70s by other artists – including the best of the soul jazz underground who were often as inspired by Lateef as they were by Coltrane! The group's great, too – and features Blue Mitchell on trumpet, Sonny Red on alto, Hugh Lawson on piano, Cecil McBee on bass, and Roy Brooks on drums – next to Yusef's own work on tenor, flute, bamboo flute, tamboura, and percussion. Titles include "Sun Dog", "Moon Cup", "Othelia", "Like It Is", and the groovy "Juba Juba". LP, Vinyl record album

A beautiful little album from the young John Coltrane, and one that hides its strong sense of depth behind a familiar jazz standard used as a title! In some way, the record is almost experimental for the time – as side one features the tenor of Coltrane alongside just the bass of Earl May and drums of Art Taylor – a saxophone trio setting that Sonny Rollins would used in a more progressive mode, but which here allows Coltrane to demonstrate his unique tenor phrasing on ballads, but in ways that are even set more free than his earlier material with Miles Davis. Side two adds in the piano of Red Garland, alongside bass from Paul Chambers, and drums from either Albert Heath or Louis Hayes – and the trumpet of Donald Byrd joins in on one track too. Trio tracks include "I Love You" and "Like Someone In Love", as well as the original "Trane's Slow Blues" – and Byrd plays on "Lush Life", and steps out on "I Hear A Rhapsody". LP, Vinyl record album

Lots of classic early material – including "If I Were A Bell" recorded with John Coltrane on tenor and Red Garland on piano, "Conception" with Sonny Rollins on tenor and Jackie McLean on alto, "Bag's Groove" with Milt Jackson on vibes, "Solar" with Horace Silver on piano, and "Walkin" with JJ Johnson on trombone, Horace Silver on piano, and Lucky Thompson on tenor! LP, Vinyl record album

Herbie Man gets nitty and gritty at the Muscle Shoals Studios – bringing his funky flute to the southern powerhouse of sound, and hitting some of his most soulful grooves of the time! The approach here is really great – definitely cast in the southern soul mode that was associated with Muscle Shoals, but also done with the looseness of a jazz record – so that the sound's a fair bit different than similar projects coming out of the scene at the time. Most tracks are long and flowing – with lots of sweet electric elements that include vibes from Roy Ayers, guitar from Eddie Hinton, and keyboards from Barry Beckett. Wayne Jackson and Andrew Love slide in on horns – but Herbie's flute is still the main solo element, and it gets plenty of space to stretch out with some great trippy grooves! Titles include Edwin Birdsong's "Can You Dig It?", plus Sonny Sharrock's "Blind Willy", and Herbie's own "Panama Red's Panama Hat" and "Claudia Pie". LP, Vinyl record album

Herbie Mann's opening plenty of windows with this one – and plenty of doors too – really letting some new influences come to his music, thanks to the presence of Sonny Sharrock on guitar and Roy Ayers on vibes! The album's one of Herbie's wildest from the 60s – and the mix of vibes, flute, and guitar is very very nice – a great blend that really gives a strong showcase to both younger players. Ayers' vibes are especially wonderful – similar to his own soulful Atlantic albums of the period – and Sharrock's guitar isn't as crazy as in later years, but has this sharp edge that's really different than usual for most of his jazz contemporaries. The album features great covers of "There Is A Mountain" and "If I Were A Carpenter" – plus surprisingly bold tunes that include Wayne Shorter's "Footprints", Charles Tolliver's "Paper Man", and Ayers' own "Windows Opened". LP, Vinyl record album

A real classic in the canon of American postwar jazz – one of the few albums ever cut as a leader by Boston baritone player Serge Chaloff – one of a handful of musicians who really helped move the instrument forward in jazz, and help it take a rightful place next to the expressiveness of the tenor and alto sax! Even though he hardly got a chance to record, Serge was a hell of a player, and one who has both the rich tone of the instrument completely in hand, while also able to move with the fluidity of a much leaner horn – a quality that's augmented here by the fantastic rhythm work from Sonny Clark on piano, Leroy Vinnegar on bass, and Philly Joe Jones on drums. The set's a treasure through and through – from the cool cover image, to the great music within – served up on tunes that include "How About You", "Handful Of Stars", "The Goof & I", "Susie's Blues", and "All The Things You Are". LP, Vinyl record album

A wonderful session of 60s Hammond jazz – a record that was somewhat overlooked at the time, but which has really gotten the attention it deserves over the years! The album's one of a rare few cut by organist Gloria Coleman – an obscure east coast player who was also the wife of tenorist George Coleman, and who follows wonderfully in a strong tradition of female organists that includes Trudy Pitts and Shirley Scott. Even hipper is the fact that Gloria's quartet has a female drummer – the fiery Pola Roberts, who's got a light touch on the kit that makes the cuts dance nicely. And even still hipper is the fact that that group is completed by Grant Green on guitar and Leo Wright on alto – both of whom groove in a totally tight soul jazz mode that resembles their best work from the early 60s. The session's a wonderful burner, of the sort that you'd proudly display in a collection of 60s soul jazz – and it's filled with excellent original cuts like "Que Baby", "Hey Sonny Red", "Melba's Minor", and "Funky Bob". LP, Vinyl record album

A collection of classic blues that influenced the heavy rock generation – with older tracks from some of the best Chess artists of the early electric days! Titles include "I'm Your Hoochie Coochie Man" by Muddy Waters, "Don't Start Me Talkin" and "Sad To Be Alone" by Sonny Boy Williamson, "Juke" and "Blues With Feeling" by Little Walter, "I'm A Man" by Bo Diddley, "I Feel So Bad" by Little Milton, and "Moanin For My Baby" and "Red Rooster" by Howlin Wolf. LP, Vinyl record album

While this is the sort of collection labels churn out as a loss leader, to spark interest in their artists, this set actually shows off the depth of talent in the Atlantic catalog throughout the 60s. Mostly soul and R&B, but with a few pop numbers too, the twelve song set plays great as sampler of some of the top sounds of the late 60s: Wilson Pickett "Funky Broadway", Aretha Franklin "Baby I Love You", The Rascals "Groovin", Sam & Dave "Soul Man", Te Bar-Kays "Soul Finger", Joe Tex "Skinny Legs And All", Aretha Franklin "Chain Of Fools", Otis Redding "Dock Of The Bay", Sonny & Cher "The Beat Goes On", The Bee Gees "To Love Somebody", Buffalo Springfield "For What It's Worth" and The Fireballs featuring Jimmy Gilmer "Bottle Of Wine". LP, Vinyl record album

Latin soul percussionist Willie Bobo hits a new dimension here – singing as well as playing timbales, hitting a groovy groove that's perfect for his rough and ready vocals! The track list is a mix of 60s soul covers and a few very tasty original tunes – all done in a mod style that's right up there with the best sound of Verve at the end of the 60s. The players on the record are great – with Latin and jazz talents that include Sonny Henry, Freddie Waits, Jimmy Owens, and Victor Pantoja – grooving in tight combo format to support Willie's vocal efforts. Tracks include "Psychedelic Blues", "Sham Time", "Lisa", "Grazing In The Grass", "The Look Of Love", and "Yellow Days". LP, Vinyl record album

Bluesy soundtrack for this 70s film based on the life of Huddie Ledbetter – aka Leadbelly – featuring guitar by Brownie, harmonica by Sonny, and vocals by Hitide Harris in the place of Leadbelly. Art Evans also sings some vocals as Blind Lemon Jefferson – and the tracks are nearly all Ledbetter originals, including "Go Down Ol Hannah","Fannin Street", "Rock Island Line", "Silver City Bound", "Green Corn", and "Black Girl". Fred Karlin arranged and conducted. LP, Vinyl record album

We never tire of the saxophone work of Sonny Criss – and this mid 70s gem is a perfect example of his brilliance! Sonny's sound on alto here is completely his own – raspily, soulful style that's really unique – and which draws strongly from Criss' rich life experience, including his years away from music (he'd been retired for most of the 70s before the time of this album.) The group's laidback and open – with Dolo Coker on piano, Ray Crawford on guitar, Larry Gales on bass, and Jimmy Smith on drums – a group that's all well with Criss on his journey – but also lets him sparkle brightly in the lead. Titles include the extended track "Isle Of Celia", plus "This Is For Benny", "Blues In My Heart", and "Crisscraft". LP, Vinyl record album

A killer album from Sonny Rollins' prime 60s years at RCA – almost a return to basics, but always with that edge that makes Rollins stand out way more than most of his contemporaries – a subtle balance between straight and modern that really makes the album crackle! The album features Sonny working with Herbie Hancock on piano, Ron Carter or Bob Cranshaw on bass, Roy McCurdy on drums – and a bit of welcome additional cornet from Thad Jones – sounding great here in a small group setting. Tracks are mostly jazz standards, but done with an incredible poise on the solos – completely transforming the tunes with Rollins' rich imagination! Titles include "52nd St Theme", "Round Midnight", "Four", "Afternoon In Paris", "St Thomas", and "I Remember Clifford". LP, Vinyl record album

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! LP, Vinyl record album

A very nicely selected 2LP set of tracks from Stitt's oft-overlooked years at Argo/Chess! The tracks have him in great company that includes the pianists Barry Harris, John Young, and Ronnie Matthews – and if you know Stitt's style from the time, you know that his choice of piano player made a very important difference in the sound of his playing. Most of the cuts are easily blown quartet material – with a lot of creative imagination applied to tunes that would otherwise be top-snooze material in the hands of a lesser player. Titles include "Ko Ko", "It's Hipper Than That", "A Natural Fox", "Wee", "Reed & A Half", "Flame & Frost", and "A Minor Sax". LP, Vinyl record album

A record with a simple, elegant title – and a similar cover image too – but if you know Sonny Stitt, you know there's often plenty beneath the surface, and this classic Chess Records has plenty to offer, once you start listening! The album's right up there with Sonny's work for Roost – in terms of straight, strong, confident blowing – remarkably subtle, but also remarkably well-conceived, and proof that by the end of the 50s, Stitt had really matured greatly as a player – bringing so much to bear in very short space, and really coming up with imaginative solos in the process! The group's a quartet with Barry Harris on piano (although conflicting information also claims that it's Ramsey Lewis) – but Stitt's the main focus on this set, and for good reason – on titles that include "Jack Spratt", "Propapagoon", "This Is Always", "Everyone Does", and "Mr Sun". LP, Vinyl record album

A great one from Sonny Fortune – done with the fusiony sound he was working so well with at the time, and still filled with a tight conception and an incredible group of musicians who bring depth and deliver some really great solos! The title track is an incredible 10 minute cut that breaks into a beautiful modal groove about 4 minutes into it – and that groove is completely wonderful. It's far from the only high point of a set filled with them. Players include Kenny Barron on Fender Rhodes, Woody Shaw on coronet & flugelhorn, Gary King on bass, Jack DeJohnette on drums, Sammy Figueroa on congas, Rafael Cruz on percussion, and Sonny doing his thing on flute, piccolo and sax. Other tracks include "Bacchanal", "Never Again Is Such A Long Time", "There's Nothing Smart About Being Stupid" and "The Afro-Americans". LP, Vinyl record album

Although Grant Green has been getting a lot of attention lately for his heavy-duty funk work of the late 60s, it's the subtly beautiful work of the early 60's that first caught our attention years ago. From the start of his young career, Green was an amazing player who had developed a unique single-note approach to soloing that was positively riveting. And while his appearances on other Blue Note albums were filled with a heavy soul jazz sound that had Green playing next to organ and tenor, material like this gives you a perfect chance to hear how well he could swing a group on his own, with little other accompaniment than a tight rhythm section, and some soulful piano from Sonny Clark. None of this material was issued at the time. Includes material that appeared on the later albums Gooden's Corner, Oleo, Born To Be Blue, and Nigeria – plus tracks from The World Of Jazz Guitar, and Blue & Sentimental by Ike Quebec. LP, Vinyl record album

A landmark album from Sonny Rollins – one that marked his comeback in the early 60s, after a brief period of retirement, and which also initiated a string of incredible recordings with guitarist Jim Hall. Given Hall's gentleness and spare modernity on the guitar, a fan of Rollins' hard-blowing late 50s sessions might not expect the album to work – but instead, it sets up his playing in a whole new mode that brings out a leaner, more confident, more sophisticated solo mode that shows that his time woodshedding in retirement was well spent. Rollins playing is impeccable, with a maturity not heard in his late 50's work, and the whole album is a beautiful study in measured, thoughtful soloing. Tracks include "John S.", "The Bridge", and "God Bless the Child". LP, Vinyl record album

About as classic as you can get for Sonny Rollins during the 50s – from the cover right down to the incredible solos on the set! The album's got Rollins really stretching out – still not finding the freer trio mode of his Vanguard session, but still bringing in plenty of fresh ideas in both his phrasing and the construction of his tunes – way more than just the roots of his (still excellent) years as a boppish player. The group's nice and loose – with Wynton Kelly on soulful piano, Doug Watkins on bass, and Philly Joe Jones on drums – all able to snap into a groove when needed, but also letting Rollins really lay back into a solo too. Titles include the sublime "Asiatic Raes", plus "Namely You", "Tune Up", "Wonderful Wonderful", and "Blues For Philly Joe". If you've ever needed a record to convince you how great Rollins is, this might just be the one! LP, Vinyl record album

A great little groover from Sonny Stitt – blowing here with a very soulful group that features piano by soul jazz giant Ronnie Matthews! Matthews is at his prime here, and his heavy left-handed approach lays out some wonderful grooves for Stitt – crackling little tunes that are extra-great because they include a good number of original compositions by Sonny! The group's a quartet, with Sonny and Ronnie alongside Art Harper on bass and Lex Humphries on drums – and the session's got the great tone and inventive solo work of Stitt's best work on Roost, but also a more pronounced role from the rhythm section, who really help drive the record! Titles include "Rearin Back", "Cut Plug", "Queen", "Carpsie's Groove", and "Bunny R". LP, Vinyl record album

A trio treasure from the incredible Sonny Clark – a rare non-Blue Note date from the late 50s, and a wonderful illustration of his powers on the piano! The setting is spare, but the sound is never sleepy – as Sonny's working here with Max Roach on drums and George Duvivier on bass – both of whom make for very lively compatriots in the trio – and help Sonny hit some fiercely flowing lines on piano! And apart from Sonny's great playing, the album's also a great showcase for his writing skills too, as nearly never tune's an original – with titles that include "Nica", "Sonia", "My Conception", "Minor Meeting", and "Blues Mambo". Also features a version of "Sonny's Crib" – mis-labeled here as "Sonny's Crip"! LP, Vinyl record album

Incredible! If you've ever wondered why people think Sonny Rollins is so great, you owe it to yourself to own this album, because it's one that stands as one of the best 5 that Rollins ever cut, and because it features him playing in a stripped-down raw setting that lets his full solo talent come to the forefront. The material was all recorded in 1957 as part of his famous Village Vanguard session for Blue Note, but it was unreleased until 1975, when Blue Note put out this double LP set of the tracks with great notes by Bob Blumenthal. Every cut's a winner, and Rollins plays in two different trio settings – one with Donald Bailey and Pete La Roca, the other with Wilbur Ware and Elvin Jones. It's all great, and will make you a fan of his for life! LP, Vinyl record album

A killer album from Sonny Rollins' prime 60s years at RCA – almost a return to basics, but always with that edge that makes Rollins stand out way more than most of his contemporaries – a subtle balance between straight and modern that really makes the album crackle! The album features Sonny working with Herbie Hancock on piano, Ron Carter or Bob Cranshaw on bass, Roy McCurdy on drums – and a bit of welcome additional cornet from Thad Jones – sounding great here in a small group setting. Tracks are mostly jazz standards, but done with an incredible poise on the solos – completely transforming the tunes with Rollins' rich imagination! Titles include "52nd St Theme", "Round Midnight", "Four", "Afternoon In Paris", "St Thomas", and "I Remember Clifford". LP, Vinyl record album

One of those Prestige compilations issued late in the label's history but before they were acquired by Fantasy. This set collects Sonny Stitt's organ combo collaborations with Jack McDuff, with a half a dozen mellow sides pulled from the Soul Shack and Nuther Fu'ther LPs. Includes "All Of Me", "When Sunny Gets Blue", "Love Nest", "Sunday", "Time After Time" and "For You". LP, Vinyl record album

A nice little album – featuring some of the sides that Gene Ammons cut "off contract" for Chess/Argo during the early 60s, and ones that feature him paired with Sonny Stitt, his longtime partner in legendary tenor battles from the 50s. The two horns aren't really locked in combat here, but they do complement each other nicely on the album's mellow groovers and ballad tracks. Titles include "Cha Bootie", "Tenor Eleven", "The Last Mile", and "Full Moon". LP, Vinyl record album

Of the classic "big names get together for a session" albums on Verve, the best ones always seem to be the ones with one of the "Sonnys" in the list of leaders. This one compiles titles from the Sonny Side Up album – which featured Stitt and Rollins, plus others from 1957 sessions in which Diz played with one or the other player. The set's a beautiful batch of long tracks with lots of blowing room, and a deep soulful hardbop groove that you don't always hear on Verve. The rhythm section for all groups is comprised of Ray Bryant, Tommy Bryant, and Charlie Persip – who are part of the reason for the magnanimous groove of the set – and titles include "After Hours", "Con Alma", "Haute Mon", "Sumphin", "Weatleigh Hall", "I Know That You Know", and "The Eternal Triangle". LP, Vinyl record album

The birth of new sounds on the New York scene of the 60s – an important early recording that features the team of Prince Lasha on flute and Sonny Simmons on alto – with great contributions from Don Cherry on trumpet and Clifford Jordan on tenor! The work is some of Jordan's most spiritual for the time – and the long tracks on the album spin out with a vibe that's looser and freer than some of the other Lasha/Simmons material of the period – almost with an echo of the loft jazz generation to come, but with more of the rhythmic focus of the work in Jordan's Dolphy Series recordings. Other musicians include Fred Lyman on flugelhorn, Charles Moffett on drums, and both Orville Harrison and Bill Wood on bass – and titles include "Lost Generation", "The Trane", and "Prelude To Bird". LP, Vinyl record album

2 Sonny Rollins classics back to back in a 2LP set! The Bridge is a landmark album from Sonny Rollins – one that marked his comeback in the early 60s, after a brief period of retirement, and which also initiated a string of incredible recordings with guitarist Jim Hall. Given Hall's gentleness and spare modernity on the guitar, a fan of Rollins' hard-blowing late 50s sessions might not expect the album to work – but instead, it sets up his playing in a whole new mode that brings out a leaner, more confident, more sophisticated solo mode that shows that his time woodshedding in retirement was well spent. Rollins playing is impeccable, with a maturity not heard in his late 50's work, and the whole album is a beautiful study in measured, thoughtful soloing. Tracks include "John S.", "The Bridge", and "God Bless the Child". Sonny Meets Hawk is one of the best-ever Sonny Rollins albums, and proof that Hawk was a modernist who could match wits with the best players of the 60's. The group that backs the two tenor giants up includes Paul Bley on piano, Henry Grimes on bass, and Roy McCurdy on drums, and they spur both Hawk and Sonny into solos that are totally amazing, and which stand as some of the best recorded work the two of them did in the 60's. Tracks include "At McKies", "All The Things You Are", "Summertime", and "Yesterdays". Fantastic stuff, and a darn hard album to find! LP, Vinyl record album