With BillEvans on piano. CD

One of the best albums ever cut by trombonist Frank Rosolino – an open-ended quartet session that really lets him do his thing! The tracks are long, with plenty of room for solo space, and Frank's working with a really great quartet that includes the legendary Sonny Clark on piano – a key force on the west coast scene during his stay in the late 50s – plus Wilfred Middlebrooks on bass, and Stan Levey on drums. Rosolino's tone is tremendous – a perfect tone, but never too polished – and although Clark doesn't play with the same sense of fire as on his Blue Note sessions, his presence is still strongly felt on the date. 3 of the album's tracks are over 7 minutes long – quite rare for a Bethlehem session – and titles include "Doxy", "My Delux", "Flamingo", "I May Be Wrong", and "Frieda". CD

A killer – and one of the greatest records ever cut on Bethlehem! Charlie Rouse and Paul Quinichette go head to head in a hard-blown session that's very different than most of the work on Bethlehem – grooving in a free-wheeling "chase" mode, as you might guess from the title – with lots of heavy tenor in the lead, cooking at a level that's more like a Prestige or Savoy session from the 50s! The group's as tight as can be – with some killer drum work from Ed Thigpen, and piano by either Wynton Kelly or Hank Jones. Titles include "The Chase Is On", "You're Cheating Yourself", "Knittin", "Tender Trap", and "When The Blues Come On". CD

A great little live set from Mel Torme – and one that features the same jazzy style as his studio albums for the Bethlehem label from the 50s! The combo behind Mel is a smallish one – Marty Paich on piano and arrangements, Larry Bunker on vibes, Don Fagerquist on trumpet, Max Bennett on bass, and Mel Lewis on drums – and the arrangements here all have that great mix of sensitivity and swing that Paich was first showing at the time – an approach that really helped Torme hit new levels in his music! Tracks include "Love Is Just A Bug", "Just One Of Those Things", "The Tender Trap", "I'm Beginning To See The Light", and "One For My Baby". LP, Vinyl record album

One of our favorite recordings ever of George Gershwin's Porgy & Bess – done by Bethlehem Records in the mid 50s, and featuring nearly every one of the label's great talents at the time! The choice of the lead characters is a bit odd – as Mel Torme plays Porgy and Francis Faye plays Bess – but both singers are actually pretty darn great for the set, and really bring a lot out of the tunes. Plus, the other artists on the set really keep things interesting – as the collection features vocal performances by Johnny Hartman, Frank Rosolino, Betty Roche, Bob Dorough, and Sallie Blair. Plus, the whole thing's presented as Gershwin wrote it – complete with narration by Al Jazzbo Collins, and a number of strong instrumental passages. Music is performed by groups led by Russ Garcia, Duke Ellington, Pat Moran, and Stan Levy – and players are an array of the best of both the New York and LA scenes at the time! Plus, this great reissue version features a full 29 minute bonus track – the "Porgy & Bess Suite", which is an extended instrumental performed by Russ Garcia. Also comes with a really great 48 page booklet too! CD

One of the straighter sessions ever recorded by vocalist Bobby Troup – an intimate quartet side, with backing by Howard Roberts on guitar, Bob Enevoldsen on bass, and Don Heath on drums. Bobby sings and plays piano – in that warm, laidback LA style that's made him one of our favorite male vocalists of the time – and he's less tongue-in-cheek here than on some of his other recordings, bringing a simple but honest presentation to material that includes "Have You Met Miss Jones", "It Still Suits Me", "Little Girl Blue", "You Are Too Beautiful", "They Can't Take That Away From Me", and "The Boy Next Door". LP, Vinyl record album

2 classic albums of late 50s jazz – both showcasing the rich talents of players from Detroit! First up on the disc is the album Motor City Scene – recorded for United Artists under the leadership of Thad Jones in 1959. The set features Thad at his best – late 50s, and working with an excellent group of hometown players! The album's more open and rough than some of Thad's excellent Blue Note sides from the time – in a really great way, one that makes for the kind of session that you rarely get to hear from Thad. Other players include Tommy Flanagan, Al Grey, Paul Chambers, Elvin Jones, and the great Billy Mitchell – whose tenor work on Jones' albums from the time is worth the price of admission alone! Titles include "Like Old Times", "Minor On Top", "Let's Play One", and "No Refill". The next 5 tracks on the set are from a 1960 session for Bethlehem – also titled Motor City Theme, recorded under the leadership of Donald Byrd and Pepper Adams. The two of them groove nicely here with a sextet that includes guitarist Kenny Burrell, pianist Tommy Flanagan, bassist Paul Chambers, and drummer "Hey" Lewis (another name for Louis Hayes!) The band is very tight, and the tracks are long enough that everybody gets in some good licks on the solos. Titles include "Trio", "Philson", "Libeccio", and "Bitty Ditty". Way harder than most of the west coast sessions on Bethlehem too! CD

An album as incredible as its bulls-eye cover – the first record ever from a young Bob Dorough – and easily one of his most swinging sessions! The style here is a bit straighter jazz than on some of Bob's later work – vocalese inspired by Jon Hendricks, King Pleasure, Eddie Jefferson, and others – recorded with a small combo that includes Jack Hitchcock on vibes, Warren Fitzgerald on trumpet, Jerry Segal on drums, and Bob's longtime partner Bill Takas on bass. Many of the tunes are vocalized versions of bop numbers – done with a nicely quirky style that shows that the mad Dorough touch was already in place during these early years – on titles that include "It Could Happen To You", "Polka Dots & Moonbeams", "Baltimore Oriole", "Yardbird Suite", "Devil May Care", and "Ow" – plus his great original "You're The Dangerous Type"! Features a bonus alternate take of "Yardbird Suite" too. CD

One of Dexter Gordon's proudest moments of the 50s – a rock-solid session for Bethlehem – easily one of the best-remembered hardbop sides from the label's California years! The album's got a relaxed, free-blown sound that's quite nice – with Dex in the lead on tenor, supported by the trio of Kenny Drew on piano, Leroy Vinnegar on bass, and Lawrence Marable on drums. Gordon's perhaps not as fully imaginative as he would become in the 60s, but his sound and control is still great throughout – and the rhythm section really helps knock this one out of the park. Titles include versions of "Darn That Dream", "Autumn In New York", "You Can Depend On Me", and "Confirmation", plus two originals "Number Four" and "Daddy Plays The Horn". LP, Vinyl record album

Quite an unusual album for trumpeter Howard McGhee – one that has the famous bop trumpeter working in a sweet "with strings" format – ala similar 50s sessions on Verve! Frank Hunter handles the larger group here – working the strings with some nice touches that go way past just sleepy orchestrations – into a realm of playful passages that help coax some quite unfamiliar sounds from Howard's horn! The approach is quite different than some of McGhee's more seminal sides, but is also a great illustration of this under-acknowledge side of his talents – and a voice that definitely seems to echo some of his personal struggles at the time. Titles include "Sonny Boy", "The Thrill Is Gone", "The Best Things In Life Are Free", "Life Is Just A Bowl Of Cherries", and "My Sin". CD

One of the few albums ever recorded by pianist Herbie Nichols – an incredible player with a sound and sense of modern expression that rivaled the best 50s work of Thelonious Monk and Elmo Hope! This session is Herbie's only one for the Bethlehem label – but it stands nicely next to his better-known sides for Blue Note – with a stark, sharp modernist approach that grabs you from the very first note! Nichols has a sharp and edgey sound throughout – and an incredible sense of invention that never fails to delight us, no matter how many times we return to the record! Titles include "Every Cloud", "S'Crazy Pad", "45 Degree Angle", "Beyond Recall", "Portrait of Ucha", and the beautiful title track "Love Gloom Cash Love". CD

One of the few female pianists in 50s jazz – the great Terry Pollard, a player who's usually associated with the Detroit scene, but who works here in a hip west coast setting for Bethlehem Records! The date's got Terry's strong piano in a quintet – with Don Fagerquist on trumpet and Howard Roberts on guitar – both musicians who bring a strong sense of presence to the group passages on the date, but who are also more than willing to step aside and let Pollard really flourish on her solos during some of the album's trio tracks. Terry's sometimes got this bite that's a bit unusual for Bethlehem – a nice nod to her Detroit roots – and the group also features Herman Wright on bass and Frank DeVito on drums. Titles include "Laura", "Fedj", "Emaline", "Almost Like Being In Love", and "Where Or When". CD

One of the few small group sessions from vocalist Betty Roche – a singer who was known for her work with Duke Ellington, but who sounds even better in this setting! Betty's got a style that's warmly raspy – a bit more edge than some of the cooler vocalists on the Bethlehem label at the time, but still backed with a group that's slightly modern – in keeping with other dates on the label. The combo features Eddie Costa on vibes, Donn Trenner on piano, Conte Candoli on trumpet, Whitey Mitchell on bass, and Davey Williams on drums – all grooving gently with Betty on a set of tracks that includes "Take The A Train", "Something To Live For", "All My Life", "All Too Soon", "You Don't Love Me Any More", "Go Away Blues", and "September In The Rain". CD

One of the most unusual groups to ever record for Bethlehem Records in the 50s – a special combo that's led by Betty Glamann on harp and Rufus Smith on bass – and who work here with an airy sound that's pretty darn nice! Glamann beats Dorothy Ashby on the jazz harp by a few years, and uses the instrument in a great style that's plucked one minute, strummed the next – creating these waves of sound that ring out wonderfully next to Smith's careful work on bass. Other instrumentation includes guitar from Barry Galbraith, drums from Frank Garisto, and accordion from Nick Perito – but the main focus is often on Glamann's instrument, which gets plenty of room for solo space. The overall sound is pretty cool, as the stringed instruments intertwine with the accordion lines, making for a dream mix of melodies – and titles include "Poinciana", "Liza", "Laura", "Now Get Out", "Lotus Land", and "Pulling Strings". CD

An unusual session in the 50s Bethelehm catalog – one that features work by pianist/arranger John Towner Williams, based around a selection of Harold Arlen tunes, and set to a variety of larger backings that include west coast players Herb Geller, Milt Bernhardt, and Gene Cipriano! The style here is heavy on the trombones – using a brace of them on most tracks to create a fluid sense of tonal color – almost in a post-Kai & JJ way, but a bit more traditional overall. There's still some nice space for solo work, despite the larger arrangements on the set – and titles include "My Shining Hour", "Let's Fall In Love", "Stormy Weather", "Hit The Road To Dreamland", "Get Happy", and "That Old Black Magic". LP, Vinyl record album

Rare material from John Coltrane – tracks that were done for Bethlehem Records at a time when he was just rising up as a leader, and still contributed work as a sideman! The album features Trane playing tenor on only four of the album's eight tracks – making it kind of surprising that they used his name in the title – but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career! The main force behind the album is arranger Harry Tubbs – possibly not a name that's as sexy as John Coltrane, hence the billing – but a worthy leader for the date, given the quality of the music. Many of the other players here are small combo heroes who can also shine brightly in bigger groups – such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass – plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date – but the bigger charm is the full ensemble work – on titles that include "She Didn't Say Yes", "Turtle Walk", "At Home With The Blues", "Seabreeze", and "Love & The Weather". LP, Vinyl record album

A tasty little 2LP set – one that collects the excellent late 50s vocal work cut for the Bethlehem label by Chris Connor! At the time, Chris had a sound that she virtually invented – icy vocals backed by small combo jazz, in a very spare and subtle setting – and the sound was, and is, tremendous – filled with sadness, longing, and booze-soaked sorrow. Instrumentation on the set is by the groups of Ellis Larkins, Vinnie Burke, and Ralph Sharon – and titles include "Trouble Is A Man", "Lush Life", "Out Of This World", "I Hear Music", "All About Ronnie", "Lullaby Of Birdland", and "The Thrill Is Gone". LP, Vinyl record album

Maybe the best work we've ever heard from Joe Derise – an overlooked male vocalist from the 50s, and one of our favorite of the generation! Joe's got a style that's not unlike some of his bigger contemporaries – like Bobby Troup or Matt Denis – a sophisticated style that's still plenty jazz, but which also avoids some of the too-heavy traps that other male singers might hit. There's a wonderfully light, fluid feel to the set – even on the ballads – and the album has sublime backing from the Australian Jazz Quintet, whose work on reeds from Dick Healey and Errol Buddle is might nice – as is the work on vibes by Jack Brokenshaw and piano by Bryce Rhode. Tracks include "Soon", "The Charm Of You", "Personality", "More & More", "Humpty Dumpty Heart", and "Spring In Old New York". LP, Vinyl record album

A surprisingly great set that features Francis Faye singing jazz renditions of older folk songs – one of the first such sessions of its type (the genre would become more popular a few years later), and done with an approach that has the songs all re-tuned for a 50s modern ear by Russ Garcia, who handled arrangements for the set. Howard Roberts plays a nicely raspy guitar at the bottom of some of the backings, giving them a slightly folksy flourish, but Garcia's mostly using a four-trombone frontline to push the jazz component of the tunes. Includes versions of "Frankie & Johnny", "Clementine", "Three Ravens", "Go Way From My Window", "St James Infirmary", "John Henry", and "Greensleeves". LP, Vinyl record album

Although the world always remembers Johnny Hartman best for his Impulse recordings with Coltrane, we've always dug some of his earlier stuff – like this album – because the sound's a bit rawer, and the style's got more of a kick! The magical Hartman voice is presented in two great settings – one a small orchestra directed by Frank Hunter, the other an even cooler group headed by Ernie Wilkins – with great horn work from players who include Anthony Ortega, Howard McGhee, Jerome Richardson, and Lucky Thompson! The tracks are familiar, but done with that dusky Hartman style – and titles include "I Could Make You Care", "The Lamp Is Low", "Stella By Starlight", "All Of Me", and a very haunting rendition of "The End Of A Love Affair". CD features 4 bonus tracks too! CD

One of the best-ever recordings by Herb Jeffries – a smooth-toned jazz singer from the 50s, with a style that's very much in the mode of contemporaries like Al Hibbler or Billy Eckstine, with a nice cheesecake cover too! The backings are what make this set great – as Russ Garcia has crafted some incredibly edgey orchestrations to accompany Herb, much better than the backings that he gets on some of his other 50s sides. The album's a great batch of sad late night love tracks – and titles include "Say It Isn't So", "Glad To Be Unhappy", "The End Of A Love Affair", "I Only Have Eyes For You", "Dinner For One, Please James", and "When Your Lover Has Gone". CD

2 of the best studio albums from the legendary trumpeter Booker Little – back to back on 1 CD! The first 7 tracks on the set are from the Bethlehem album Booker Little & Friend – a fantastic sextet session recorded in 1961, shortly before Booker Little's death, and filled with all the promise and power he ever packed into his playing! The lineup includes Julian Preister, George Coleman, and Pete La Roca, and the groove is tight modern hard bop all the way through. An excellent album, and one of the best recordings ever on Bethlehem – with tracks that include "Matilde", "Booker's Blues", "Forward Flight", and "Victory and Sorrow". Next up are 6 tracks from the album Booker Little 4 & Max Roach – recorded for United Artists in 1958, at a time when Little was in the Max Roach band. The album is virtually a Max Roach session, as it features regular Roach group members Coleman and Little – plus bassist Art Davis and pianist Tommy Flanagan – all of whom fall perfectly into line behind Roach's masterful drumming on tracks like "Rounder's Mood", "Dungeon Waltz", and "Jewel's Tempo". 13 tracks in all. CD

Twin-flute magic from the quintet of Herbie Mann and Sam Most – both of whom play the long, thin instrument here – in intertwining lines of sound that are totally great! There's a style here that's often a bit more frenetic than usual for Herbie – one that's possibly picked up from Most, as might be heard on some of his later sides from the 60s. Whatever the case, even when things are gentle, there's some nice little interplay – a lot of action from both flute players, supported by guitar from Joe Puma, bass from Jimmy Gannon, and drums from Lee Kleinman. Arrangements are by Russ Garcia, and titles include "It's Only Sunshine", "Fascinating Rhythm", "Empathy", "Seven Come Eleven", "Just One Of Those Things", and "Flying Home". LP, Vinyl record album

One of the best of the early 60s comeback albums by the legendary bop trumpeter Howard McGhee – and a record that really has the player finding a whole new groove in his music! At this point, Maggie's got a fantastic tone that was missing from his earlier records, filled with pain and raw emotion – but also measured with a maturity that gives his solos an incredible sense of economy that delivers a whole hell of a lot with just a few simple notes – a balance that comes through beautifully here, maybe even more so than on any other record by Howard from the time! He's playing here in a great group that includes Roland Alexander on tenor, Bennie Green on trombone, Tommy Flanagan on piano, and Pepper Adams on baritone – and tracks include "Dusty Blue", "Groovin High", "Cottage For Sale", "Flyin Colors", and "With Malice Towards None". CD

Easily one of the best albums ever cut by this oft-overlooked bop trumpeter – and a clean, clear, no-nonsense session played with some great modern touches! The session really steps off from McGhee's earlier work nicely – and is noteworthy not only for Howard's great trumpet work, but also for the presence of baritonist Sahib Shihab in the group, making a great small group appearance here and really dominating the session with his strong sound. Other players include Duke Jordan on piano, Percy Heath on bass, and Philly Joe Jones on drums – and titles include a good number of originals by McGhee. Tracks include "Tweedles", "Tahitian Lullaby", "Rifftide", "Oo Wee But I Do", "Transpicious", and "Don't Blame Me". CD

Great early work from Carmen McRae – small combo, jazzy, and a nicely different set than some of her other work of the 50s! Backings are by two groups – one headed by accordionist Mat Mathews, the other by saxophonist Tony Scott – both quartets, and both of them working with a nicely lean sense of swing that seems to bring the same out of Carmen! The album's not as dark or moody as you might expect from these years – and that's a great thing to us, because it illuminates another side of Carmen's talents that don't always get as much exposure. Titles include "Easy To Love", "If I'm Lucky", "Tip Toe Gently", "Old Devil Moon", "Misery", and "Too Much In Love To Care". LP, Vinyl record album

One of Charles Mingus' excellent albums for the Bethlehem label – recorded during that magical year of 1957, a real turning point in his career! There's a sharpness here to Mingus' musical vision that hadn't shown up in previous years – a refinement of ideas expressed for Savoy and Prestige on previous sessions, drawn with tighter tension, and a bolder sense of spirit and emotion throughout. The group's a well-chosen batch of modernists – with Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, Clarence Shaw on trumpet, and the surprising addition of Bill Evans on piano – sounding a fair bit bolder here than elsewhere. Titles are almost all Mingus originals with a great balance of modern structures and freer solo moments – and tracks include "Conversation", "West Coast Ghost", "Fifty First Street Blues", "East Coasting", and the sublime "Celia", which Mingus and Hadi performed in the film Shadows by John Cassavettes. CD reissue also features bonus alternate takes of "East Coasting" and "Memories Of You". CD

One of Charles Mingus' excellent albums for the Bethlehem label – recorded during that magical year of 1957, a real turning point in his career! There's a sharpness here to Mingus' musical vision that hadn't shown up in previous years – a refinement of ideas expressed for Savoy and Prestige on previous sessions, drawn with tighter tension, and a bolder sense of spirit and emotion throughout. The group's a well-chosen batch of modernists – with Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, Clarence Shaw on trumpet, and the surprising addition of Bill Evans on piano – sounding a fair bit bolder here than elsewhere. Titles are almost all Mingus originals with a great balance of modern structures and freer solo moments – and tracks include "Conversation", "West Coast Ghost", "Fifty First Street Blues", "East Coasting", and the sublime "Celia", which Mingus and Hadi performed in the film Shadows by John Cassavettes. CD reissue also features bonus alternate takes of "East Coasting" and "Memories Of You". CD

A fantastic album – one of our favorite-ever records from Charles Mingus! The album was recorded in the same breath as his legendary works Tijuana Moods, The Clown, and Pithecanthropus Erectus – and it features the same sort of fire and emotion that made those classics so great. The group alone is amazing – with Horace Parlan on piano, Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, and the amazing Clarence (aka Gene) Shaw on trumpet – all getting plenty of room to open up on the album's longer tracks! The work bristles with a sense of imagination and dark energy that Mingus hardly had in his music in later years – and each new tune brings a fresh sense of vision that never fails to astound us! In keeping with the "poetry" title, the album begins with an incredible 12 minute track "Scenes in the City" – which features a long spoken bit written by Langston Hughes about one man's love of jazz and the way that it affects his life in the city – all supported with excellent instrumentation from the group. Other titles are instrumental, and include "Nouroog", "New York Sketchbook", "Slippers", and "Duke's Choice". CD also features 3 bonus tracks – "Woody N You", "Billie's Bounce", and an alternate take of "Slippers". CD

A 2CD set that features both albums cut for Bethlehem by the Pat Moran Quartet – a groovy little combo that harmonized vocally while they were grooving on their instruments! The group's led by Pat on piano and lead vocals – and singer Bev Kelly is also with the group – and one album features the quartet on their own, and the other includes additional backings by Nat Pierce, with players that include Anthony Ortega and Sam Most. The four part harmony mode is in the Hi-Los mode, but the twist is that it's half-male, half-female – making for a lighter sound that's as groovy as 50s work by Jackie & Roy. There's a total of 27 tracks in all – with titles that include "This Can't Be Love", "Have You Met Miss Jones", "Gone With The Wind", "Sunday Kind Of Love", "Lullaby Of The Leaves", "I'll Be Around", "Jordu", "Have You Met Miss Jones", "Come Rain Or Come Shine", and "Mother Macree". CD

Sweet flute work from the great Sam Most – a player who really shone brightly during his 50s recordings for Bethlehem Records – of which this is one of the best! Sam's got a mean, lean quality to his solos – a mode that rivals that of Frank Wess on the instrument at the time, and may well beat Herbie Mann – able to step lively on more boppish numbers, but step back into these soulful lines at just the right moments. The rest of the group has a tight feel too – modern, but a bit playful too – with Marty Flax on baritone, Barry Galbraith on guitar, Billy Triglia on piano, and Oscar Pettiford on bass. Titles include "Deed I Do", "Broadway", "Smiles", "Don't Worry Bout Me", "How Deep Is The Ocean", and "Tea For Two". LP, Vinyl record album

Don't let the Another One title make you think this is some passable record that repeats earlier ideas – because the set is a real gem in the 50s catalog of bassist Oscar Pettiford, and one of his strongest dates as a leader! Pettiford really sparkles here – leading a great group that features key 50s modernists like Gigi Gryce on alto, Jerome Richardson on tenor, Bob Brookmeyer on trombone, and Donald Byrd on trumpet – all tightly arranged at most moments, but given enough space on the set to strike out and state their own ideas. Pettiford's bass is wonderfully upfront in the mix, leading off most tunes with a nice sense of force – and titles include some really wonderful original material – like "Oscalypso", "Don't Squawk", "Bohemia After Dark", "Minor Seventh Heaven", and "Kamman's A Comin". LP, Vinyl record album

One of the few small group sessions from vocalist Betty Roche – a singer who was known for her work with Duke Ellington, but who sounds even better in this setting! Betty's got a style that's warmly raspy – a bit more edge than some of the cooler vocalists on the Bethlehem label at the time, but still backed with a group that's slightly modern – in keeping with other dates on the label. The combo features Eddie Costa on vibes, Donn Trenner on piano, Conte Candoli on trumpet, Whitey Mitchell on bass, and Davey Williams on drums – all grooving gently with Betty on a set of tracks that includes "Take The A Train", "Something To Live For", "All My Life", "All Too Soon", "You Don't Love Me No More", "Go Away Blues", and "September In The Rain". CD

An excellent set that combines the work of two lost horn players from the 50s! The first 8 tracks feature titles from an earlier 10" recording by Eddie Shu – an icy genius on the alto and tenor, working here in quartet format with Bobby Scott, Vinnie Burke, and Roy Haynes. Shu's got an angular tone that's a bit like that of Lee Konitz, but which is slightly less acrobatic, and perhaps a bit warmer – and he's a hell of a player, as you'll hear on the tracks "Tom Dick & Jim", "It's Sand Man", "Justice", "On East Side", and "Peace". Side two features one of the only albums ever cut by tenorist Bob Hardaway – a young west coast player who really cooks on this obscure record for Bethlehem! Hardaway's tenor has a bit more bite than some other Bethlehem horns of the time – and the vibe is almost east coast at time – with a stronger attack on the solos, and a sense of soul that comes through even more strongly on the ballads. The lineup is great, too – with Marty Paich on piano, bringing a nice punch to the tunes – plus vibes from Larry Bunker on side one, ringing out with a really wonderful tone. Bunker shifts to drums on side two – and the record features bass from either Max Bennett or Joe Mondragon, and additional drums from Art Madigan. Titles include "Jr", "Lou's Blue", "Indiana", "I Cover The Waterfront", and "Out Of Nowhere". LP, Vinyl record album

A really great little set from Zoot Sims – earthy, and almost a bit more fragile than much of his other work! There's a real "down home" feel to the whole record – as Zoot blows comfortably and easily in a quartet with Dave McKenna on piano, George Tucker on bass, and Dannie Richmond on drums – making a rare non-Mingus appearance for the set! Zoot's horn has a bit more dirt in the tone than on some of his "cleaner" sessions – a style that we like a lot, and which really fits the feeling of the set. Titles include "Doggin' Around", "Avalon", "Jive At Five", "I've Heard That Blues", and "Goodnite Sweetheart". CD also features 6 alternate takes of tunes from the record – plus "These Foolish Things", which is played by another quartet with Dave McKenna, from the Bethlehem album On Campus Ivy League Concert. CD

A mainstream jazz combo, but one with plenty of modern edges too – thanks to the skills of the players in the sextet! The musicians here are equally comfortable skirting a number of different styles, which they do very well in the set – especially the horn section, which features Bob Wilber on tenor, Sonny Truitt on trombone, and Johnny Glasel on trumpet! Most numbers are originals by the group members, and the arrangements have that fresh flair that Wilber would bring to later, better-known work – swung by a rhythm section that includes Bob Hammer on piano, Bill Britto on bass, and Eddie Phyfe on drums. Titles include "Itchy Fingers", "Two Kinds Of Blues", "Strange Diet", "Tasty", "As Far As We're Concerned", and "Pink Ice". LP, Vinyl record album

A real lost gem on Bethlehem Records – and one of the few albums to feature this tremendous saxophonist in the lead! Frank Socolow was one of the great unsung reed players of the 50s – and although he lay hidden in some of the larger combos of the early part of the decade, he thankfully got to cut this excellent album as a leader for Bethlehem in the middle part of the decade! The record features a nicely stripped-down combo – with Eddie Bert on trombone, Sal Salvador on guitar, and Eddie Costa on piano – and the overall feel is icy and cool, with distinct touches of Lee Konitz, and a tightly arranged sound which then lets Frank break out strongly against on his solos. Titles include "Miss Finegold", "Little Joe", "Farfel", "Swing Low Sweet Socolow", and "I Love You". One we almost never see on vinyl, either! LP, Vinyl record album

A beautiful album by Mal Waldron – recorded in 1960, after the passing of Billie Holiday, and a very loving tribute by Waldron, who was her accompanist for a number of years. The set moves way past the usual "Holiday songbook" mode, and features instead a dark batch of tracks, two written by Waldron – "Minor Pulsation" and "Cat Walk" – a third written by him and Holiday, the famous tune "Left Alone". Jackie McLean plays some fantastic alto sax on the CD's version of "Left Alone", and the rest of the tracks are trio tracks played by Waldron, Julian Euell, and Al Dreares. The set also features one very strange track – "Mal Waldron: The Way He Remembers Billie Holiday" – which is an interview with Waldron about Billie! And sure, there were many cash-in records after Billie Holiday died, but this is one of the best, and it comes from a very legitimate source! CD

A beautiful album by Mal Waldron – recorded in 1960, after the passing of Billie Holiday, and a very loving tribute by Waldron, who was her accompanist for a number of years. The set moves way past the usual "Holiday songbook" mode, and features instead a dark batch of tracks, two written by Waldron – "Minor Pulsation" and "Cat Walk" – a third written by him and Holiday, the famous tune "Left Alone". Jackie McLean plays some fantastic alto sax on the CD's version of "Left Alone", and the rest of the tracks are trio tracks played by Waldron, Julian Euell, and Al Dreares. The set also features one very strange track – "Mal Waldron: The Way He Remembers Billie Holiday" – which is an interview with Waldron about Billie! And sure, there were many cash-in records after Billie Holiday died, but this is one of the best, and it comes from a very legitimate source! CD

One of the greatest albums ever from west coast pianist Claude Williamson – from the cool image on the cover, right down to the freely swinging grooves on the vinyl! Williamson's working here in trio formation with Red Mitchell on bass and Mel Lewis on drums – mostly on familiar tunes, but done in ways that have a really personal sort of approach. The album often has Claude taking his time on the intros to the tunes – setting things up in broad flourishes in a near-solo mode, before letting the bass and drums come into play – and this style creates a nicely moody feel that matches the late nite image of the cover. Titles include "Hippy", "Stella By Starlight", "I'll Know", "Tea For Two", "Love Is Here To Stay", and "The Song Is You". CD

A really sparkling session from trumpeter Stu Williamson – one of a few great records he cut for the Bethlehem label in the 50s, and a set that's one of the cookingest from the company at the time! Stu's trumpet lines are already mighty nice – tight, and often a bit bolder than others from the west coast – and he's got some excellent company on saxophone here – the great young Charlie Mariano on alto, playing with a nice edge on a few tracks – plus equally great work from Bill Holman on tenor and Jimmy Guiffre on baritone. The rhythm section cooks nicely, too – with a boppish swing on the best numbers, delivered on piano by Claude Williamson, bass by Leroy Vinnegar, and drums by Mel Lewis. Titles include "Oom's Tune", "Big Red", "Red Cross", "Hongry Child", and "Pee Jay". CD

A great sampling of work from the Bethlehem sessions of trumpeter Stu Williamson – an under-remembered player on the west coast scene, working here with an assortment of great saxophonists who include Charlie Mariano, Jimmy Giuffre, and Bill Holman! The sessions have an approach that's right up there with the best Bethlehem format at the time – very tightly arranged at the head, but then breaking out into solos that get a tremendous amount done in very little space – always poised, but still full of feeling, especially on the numbers that feature Mariano in the set! CD features 14 tracks in all, with Claude Williamson as the pianist on all of them – and titles include "Stu's Due Blues", "Yardbird Suite", "Pee Jay", "Hongry Child", "Rose Bud", "Big Red", "Darn That Dream", "Red Cross", "Just Friends", and "Oom's Tune". CD

Features the famous trumpeter in a few different groups – one large, and two smaller! LP, Vinyl record album

One of the most compelling early albums recorded by Chris Connor for Bethlehem – a sweet little 10" session that was part of her initial "lullabies" series! The backings on the set are extremely haunting – played by the Vinnie Burke Quartet, with a lineup that includes accordion, guitar, bass, and drums – all of which makes for a more unusual sound than the usual piano trio backings that might accompany a singer like Chris! Titles include "Lush Life", "Out Of This World", "Cottage For Sale", "How Long", and "Stella By Starlight". CD

A great set of tracks that represents some of Chris Connor's first recordings as a solo act – culled from earlier ep and 10" releases, and issued here on a full LP with a total of 14 tracks. Backing is by three groups – the Ellis Larkin Trio, Vinnie Burke's Quartet, and Sy Oliver's Orchestra – and Chris is in fine fine form, vocalizing with that icy tone we love so much, a bit sad, and a bit mellow, but always heartfelt, without the forced emotion of other singers of her generation. Titles include "Stella By Starlight", "Goodbye", "Spring Is Here", "Ask Me", "Lullaby Of Birdland", "Try A Little Tenderness", and "He's Coming Home". LP, Vinyl record album

Beautifully icy vocals from the amazing Chris Connor – the kind of record that set a new standard for vocal jazz back in the 50s! The session's a small group one – with Chris singing intimately alongside backing from Herbie Mann on flute and tenor, Kai Winding and JJ Johnson on trombones, Joe Puma on guitar, and Ralph Sharon on piano – all lightly arranged to allow Connor's vocals prime placement in the record, while shading in the spaces with some nicely modern colors. Titles are mostly familiar, but wonderfully transformed into Connor's own personal statements – and tracks include "Ridin High", "It's All Right With Me", "Someone To Watch Over Me", "All Dressed Up With A Broken Heart", "All This & Heaven Too", "Trouble Is a Man", "Blame It On My Youth", and "The Thrill Is Gone". CD

A killer of an album from one of the best hardbop trombonists of the 50s! This original's always been wickedly hard to find, and it comes from that later period when the Bethlehem label was cutting records that had a lot more of a soulful groove than earlier years. Bennie's playing with a hip group of underground players that includes Jimmy Forrest on tenor, Lem Davis on alto, and Skip Hall on organ – and although the tracks are short, they've got a fire that gets the job done in double-time, and which makes you think you're hearing some session on Prestige. Titles include "Catwalk", "Dee Dee", "Dibblin & Dabblin", and "Groove One". LP, Vinyl record album

Although the world always remembers Johnny Hartman best for his Impulse recordings with Coltrane, we've always dug some of his earlier stuff – like this album – because the sound's a bit rawer, and the style's got more of a kick! The magical Hartman voice is presented in two great settings – one a small orchestra directed by Frank Hunter, the other an even cooler group headed by Ernie Wilkins – with great horn work from players who include Anthony Ortega, Howard McGhee, Jerome Richardson, and Lucky Thompson! The tracks are familiar, but done with that dusky Hartman style – and titles include "I Could Make You Care", "The Lamp Is Low", "Stella By Starlight", "All Of Me", and a very haunting rendition of "The End Of A Love Affair". LP, Vinyl record album

A nice little album from Johnny Hartman – recorded back in the mid 50s for Bethlehem, in the years before he recorded his more famous dates for the Impulse label! The set has Johnny singing nice and mellow – with backing by a group led by pianist Ralph Sharon, one of Tony Bennett's longtime accompanists, with added trumpet by Howard McGhee – which creates some nicely moody interplay in the relatively spare setting of the session. Hartman's vocals are a dream, as always – and tracks include "What Is There To Say", "Moonlight In Vermont", "I'll Remember April", "Down In The Depths", "I Fall In Love Too Easily", and "We'll Be Together Again". CD

A fantastic sextet session recorded in 1961, shortly before Booker Little's death – and filled with all the promise and power he ever packed into his playing! There's a sharp, angular groove to many of the numbers here – that mix of modern and hardbop that was cresting best in the early 60s Blue Note generation – and which echoes some of the work that Little had done with Max Roach in the years before this date. The lineup's filled with great players to help Book realize his strongest musical vision – Julian Priester on trombone, George Coleman on tenor, Don Friedman on piano, Reggie Workman on bass, and Pete LaRoca on drums – and although the set's issued on the sometimes-staid Bethlehem label, it's got all the sharper edges of an early 60s date on a label like Impulse or Candid! Titles include "Matilde", "Booker's Blues", "Forward Flight", and "Victory and Sorrow". CD

A fantastic sextet session recorded in 1961, shortly before Booker Little's death – and filled with all the promise and power he ever packed into his playing! There's a sharp, angular groove to many of the numbers here – that mix of modern and hardbop that was cresting best in the early 60s Blue Note generation – and which echoes some of the work that Little had done with Max Roach in the years before this date. The lineup's filled with great players to help Book realize his strongest musical vision – Julian Priester on trombone, George Coleman on tenor, Don Friedman on piano, Reggie Workman on bass, and Pete LaRoca on drums – and although the set's issued on the sometimes-staid Bethlehem label, it's got all the sharper edges of an early 60s date on a label like Impulse or Candid! Titles include "Matilde", "Booker's Blues", "Forward Flight", and "Victory and Sorrow". LP, Vinyl record album

Easily one of the best albums ever cut by this oft-overlooked bop trumpeter – and a clean, clear, no-nonsense session played with some great modern touches! The session really steps off from McGhee's earlier work nicely – and is noteworthy not only for Howard's great trumpet work, but also for the presence of baritonist Sahib Shihab in the group, making a great small group appearance here and really dominating the session with his strong sound. Other players include Duke Jordan on piano, Percy Heath on bass, and Philly Joe Jones on drums – and titles include a good number of originals by McGhee. Tracks include "Tweedles", "Tahitian Lullaby", "Rifftide", "Oo Wee But I Do", "Transpicious", and "Don't Blame Me". LP, Vinyl record album

Easily one of the best albums ever cut by this oft-overlooked bop trumpeter – and a clean, clear, no-nonsense session played in the company of a crack group that includes Sahib Shihab, Duke Jordan, Percy Heath, and Philly Joe Jones. Maggie's in the lead on firey solos, and tracks are short, but economical enough to get plenty across! Titles include "Tweedles", "Tahitian Lullaby", "Rifftide", "Oo Wee But I Do", "Transpicious", and "Don't Blame Me". LP, Vinyl record album

One of Charles Mingus' excellent albums for the Bethlehem label – recorded during that magical year of 1957, a real turning point in his career! There's a sharpness here to Mingus' musical vision that hadn't shown up in previous years – a refinement of ideas expressed for Savoy and Prestige on previous sessions, drawn with tighter tension, and a bolder sense of spirit and emotion throughout. The group's a well-chosen batch of modernists – with Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, Clarence Shaw on trumpet, and the surprising addition of Bill Evans on piano – sounding a fair bit bolder here than elsewhere. Titles are almost all Mingus originals with a great balance of modern structures and freer solo moments – and tracks include "Conversation", "West Coast Ghost", "Fifty First Street Blues", "East Coasting", and the sublime "Celia", which Mingus and Hadi performed in the film Shadows by John Cassavettes. CD reissue also features bonus alternate takes of "East Coasting" and "Memories Of You". CD

A pivotal album in the career of Charles Mingus – one that really has him honing his sound, and reaching for that trademark mix of modernism and raw emotion that set a whole generation on fire! The album's a lot more freewheeling than other Mingus material from the time – although still a bit more compact than the Atlantic or Columbia sides – and the group's staffed with key early interpreters of Charles' vision – including John LaPorta on alto, Teo Macero on tenor and baritone, Thad Jones on trumpet, Clem DeRosa on drums, and Jackson Wiley on cello – an instrument that really helps shade in some of the darker corners of the tunes. Titles include great early originals like "Four Hands", "Minor Intrusion", "Thrice Upon A Theme", and "The Spur Of The Moment" – plus his great take on "Stormy Weather", which is a bit stormier than most! CD

A pivotal album in the career of Charles Mingus – one that really has him honing his sound, and reaching for that trademark mix of modernism and raw emotion that set a whole generation on fire! The album's a lot more freewheeling than other Mingus material from the time – although still a bit more compact than the Atlantic or Columbia sides – and the group's staffed with key early interpreters of Charles' vision – including John LaPorta on alto, Teo Macero on tenor and baritone, Thad Jones on trumpet, Clem DeRosa on drums, and Jackson Wiley on cello – an instrument that really helps shade in some of the darker corners of the tunes. Titles include great early originals like "Four Hands", "Minor Intrusion", "Thrice Upon A Theme", and "The Spur Of The Moment" – plus his great take on "Stormy Weather", which is a bit stormier than most! LP, Vinyl record album

The voice of Audrey Morris is a great one – sweet, but also sad too – but never in a too-sentimental way, and perfect for the gentler touch of the Bethlehem label! Audrey's working here with backings penned by Marty Paich – who also plays celeste on the album, with a group that features Stu Williamson on trumpet, Bill Pitman on guitar, Joe Mondragon on bass, and Irv Cottler or Alvin Stoller on drums. Paich uses a bit of strings on the date – never too much, but just enough to underscore the sadness of the bluer tunes, and create a bit of softness on a few of the ballads – all in a way that's never too dramatic, and which always gives way to Audrey's vocals when they slide into the mix – preserving the intimate quality that always makes for her best sort of setting. The track selection is great – far more unusual than the typical Bethlehem vocal date, with some great late nite numbers that include "If Love Were All", "I Never Mention Your Name", "It's Always You", "What More Can A Woman Do", "Blue Turning Gray Over You", "I Go For That", and "I Wonder What Became Of Me". CD

One of the few albums ever recorded by pianist Herbie Nichols – an incredible player with a sound and sense of modern expression that rivaled the best 50s work of Thelonious Monk and Elmo Hope! This session is Herbie's only one for the Bethlehem label – but it stands nicely next to his better-known sides for Blue Note – with a stark, sharp modernist approach that grabs you from the very first note! Nichols has a sharp and edgey sound throughout – and an incredible sense of invention that never fails to delight us, no matter how many times we return to the record! Titles include "Every Cloud", "S'Crazy Pad", "45 Degree Angle", "Beyond Recall", "Portrait of Ucha", and the beautiful title track "Love Gloom Cash Love". CD

A classic set of early jazz recordings by Nina Simone – one of her first albums ever, but already with an approach that's quite different from other singers of the time! Nina's singing a fair bit of standards here, but she brings a deeply personal approach to the material – inflecting the tunes with gospel-inspired soul, and showing some very slight folksy touches – of the sort that would come in more heavily on later records. Backing is by a small combo, and tracks include "Plain Gold Ring", "Good Bait", "He Needs Me", "Don't Smoke In Bed", and "I Loves You Porgy". LP, Vinyl record album

A classic set of early jazz recordings by Nina Simone – one of her first albums ever, but already with an approach that's quite different from other singers of the time! Nina's singing a fair bit of standards here, but she brings a deeply personal approach to the material – inflecting the tunes with gospel-inspired soul, and showing some very slight folksy touches – of the sort that would come in more heavily on later records. Backing is by a small combo, and tracks include "Plain Gold Ring", "Good Bait", "He Needs Me", "Don't Smoke In Bed", and "I Loves You Porgy". Plus, this whole thing's very nicely packaged – in a gatefold cover, and with 4 bonus tracks, including the excellent groover "African Mailman"! CD

A really great little set from Zoot Sims – earthy, and almost a bit more fragile than much of his other work! There's a real "down home" feel to the whole record – as Zoot blows comfortably and easily in a quartet with Dave McKenna on piano, George Tucker on bass, and Dannie Richmond on drums – making a rare non-Mingus appearance for the set! Zoot's horn has a bit more dirt in the tone than on some of his "cleaner" sessions – a style that we like a lot, and which really fits the feeling of the set. Titles include "Doggin' Around", "Avalon", "Jive At Five", "I've Heard That Blues", and "Goodnite Sweetheart". LP, Vinyl record album

One of the most beautiful albums ever from the great Mel Torme – and a set that's a bit different than his other work for the Bethlehem label too! The set features Mel singing to lush backings from arranger Al Pellegrini – who brings in a mode that definitely lives up to the blue tones promised in the title – with enough melancholy moments in the mix to rival the sound of Frank Sinatra's classic Wee Small Hours album. The voice of the Velvet Fog is perfect in such a setting – and Torme's all serious, all classic, all the way through – no gimmicks or tricks or goofy moments at all. Titles include "How Long Has This Been Going On", "It's A Blue World", "Polka Dots & Moonbeams", "I Got It Bad & That Ain't Good", "All This & Heaven Too", "Wonderful One", and "Stay As Sweet As You Are". LP, Vinyl record album

Classic King R&B material from Vinson, featuring some great backing by a surprising amount of jazz players! The album includes playing by Frank Foster, Joe Newman, Charlie Rouse, Ed Thigpen, Freddie Green, Paul Quinichette, and Nat Pierce – and the sound owes a lot to Joe Turner's work with Basie. Titles include "Cherry Red", "That's The Way To Treat Your Woman", "Kidney Stew", "Hold It Right There", and "Your Baby Ain't Sweet Like Mine". CD

A beautiful album by Mal Waldron – recorded in 1960, after the passing of Billie Holiday, and a very loving tribute by Waldron, who was her accompanist for a number of years. The set moves way past the usual "Holiday songbook" mode, and features instead a dark batch of tracks, two written by Waldron – "Minor Pulsation" and "Cat Walk" – a third written by him and Holiday, the famous tune "Left Alone". Jackie McLean plays some fantastic alto sax on the version of "Left Alone", and the rest of the tracks are trio tracks played by Waldron, Julian Euell, and Al Dreares. The set also features one very strange track – "Mal Waldron: The Way He Remembers Billie Holiday" – which is an interview with Waldron about Billie! And sure, there were many cash-in records after Billie Holiday died, but this is one of the best, and it comes from a very legitimate source! LP, Vinyl record album

With selections by Lonnie Johnson, John Lee Hooker, Champion Jack Dupree, Eddie Cleanhead Vinson, Piney Brown, Texas Slim, Memphis Slim, Sticks McGhee, Jimmy Rushing, Smokey Hogg, Washboard Bill, and Johnny Temple. LP, Vinyl record album

2 rare sides by one of the most enigmatic players to ever record for the Bethlehem label! Bassist Max Bennett displays a wonderful ear for unique phrasing and compelling small combo leadership on the first self-titled album on the set – working with a group that includes Carl Fontana on trombone, Charlie Mariano on alto, Nick Travis on trumpet, and Mel Lewis on drums. The style is a bit in the east coast chamber jazz model of the mid 50s – but has some freer-swinging components overall, and some especially great alto solos from Mariano, whose playing on the set is worth the price of admission alone! Titles include "Ira Of The IRA", "Johnny Jaguar", "Max Is The Factor", "13 Toes", and "Something To Remember You By". Max Bennett Plays is an expanded edition of an earlier 10" LP – and it features a group led by bassist Max Bennett, and featuring Charlie Mariano on alto, Stan Levy on drums, Claude Williamson on piano, and Frank Rosolino on trombone. Helen Carr makes a vocal appearance on a track or two, and the album's got a nicely schizophrenic style that pushes it past simple expectations – really cooking with a mean Mariano solo one minute, and laying back for a mellower vocal passage the next. Titles include "Rubberneck", "Just Max", "They Say", "TK", "Do You Know Why", and "I'll Never Smile Again". CD

One of the most hard-hitting sessions ever recorded for the Bethlehem label – and a rare date for the imprint by the team of trumpeter Donald Byrd and saxophonist Pepper Adams! The style here is similar to work the pair recorded for Riverside and Blue Note at the same time – razor-sharp hardbop, played with a strong sense of imagination, and plenty of room for drawn-out, creatively-blown solos. Adams is especially great – playing the baritone here with the leanness of a tenor sax – but Byrd is wonderful too, and really starts to break out of some of the more staid modes of his work from a few years back. The group's a sextet that includes guitarist Kenny Burrell, pianist Tommy Flanagan, bassist Paul Chambers, and drummer "Hey" Lewis (another name for Louis Hayes?) – on titles that include "Trio", "Philson", "Libeccio", and "Bitty Ditty". CD

One of the best 50s albums from trumpeter Conte Candoli – and that's saying a heck of a lot, given how often Conte recorded during the decade! The set's got an edge you don't always find on other Candoli sessions – especially some of the large group material – and the group's nice and small, and very tight – with Bill Holman on tenor, Lou Levy on piano, Larry Marable on drums, and Leroy Vinnegar on bass. The quintet cooks wonderfully – with very sharp, soulful solos from both Holman and Candoli – at a level that's got more of the Mode Records bite than some other Bethlehem sides from the west coast at the time. Obviously, the rhythm section's a great one – and really helps the record cook – on titles that include "Full Count", "Four", "Groovin Higher", and "Jazz City Blues". CD

An excellent and oft-overlooked 50s session from Duke – recorded in Chicago as a one-off for the Bethlehem label, and done with a lush, rich sound that's really tremendous! The group's nicely restrained and very moody – playing here in a mellow late nite mode that offers a good focus on the best horn soloists in the group, yet which also really hangs together perfectly from the slow-moving and eerie tone of the rest of the group. Jimmy Grissom sings a bit on the set, and other players include Johnny Hodges, Paul Gonsalves, Cat Anderson, and Ray Nance – on tracks that include "Day Dream", "Blues", "Frustration", "My Funny Valentine", and "Laura". CD

One of the greatest albums on the Bethlehem label – and one of the first albums as a leader by the legendary Booker Ervin! At the time of the set, Ervin had come off a great stint with the Charles Mingus group – one that inflected his rootsy Texas tenor tones with a sharper modern edge – heard to perfection on this great little session, which is equal parts hard swinging soul jazz and dark-tinged early 60s modern! Zoot Sims joins Booker in the front line, and the two of them trade tenor solos throughout on the album's long compositions – grooving with a great sextet that includes Tommy Turrentine on trumpet, Tommy Flanagan on piano, and Mingus' drummer Dannie Richmond on the kit! Cuts include "Largo", "The Book Cooks", "The Blue Book", and "Git It". CD

One of the greatest albums on the Bethlehem label – and one of the first albums as a leader by the legendary Booker Ervin! At the time of the set, Ervin had come off a great stint with the Charles Mingus group – one that inflected his rootsy Texas tenor tones with a sharper modern edge – heard to perfection on this great little session, which is equal parts hard swinging soul jazz and dark-tinged early 60s modern! Zoot Sims joins Booker in the front line, and the two of them trade tenor solos throughout on the album's long compositions – grooving with a great sextet that includes Tommy Turrentine on trumpet, Tommy Flanagan on piano, and Mingus' drummer Dannie Richmond on the kit! Cuts include "Largo", "The Book Cooks", "The Blue Book", and "Git It". CD