Incredible work from the team of Donald Byrd and Gigi Gryce – crisp modern jazz, filled with soul, and never failing to swing! During the time of these recordings, Gryce was one hell of an arranger – with a tight ensemble approach that worked magic in a small combo setting. He was also a tremendous alto player – with a tone that was unlike any other musician at the time, magically sharp, with a sound that always seemed to inspire a great deal of energy from his bandmates. He gets plenty of that here from trumpeter Donald Byrd – sounding better on these sides than on most of his other 50s recordings – thanks also to some great accompanists, who include Tommy Flanagan, Wendell Marshall, and Art Taylor. Some tunes feature additional horn work from players that include Benny Powell, Julius Watkins, and Sahib Shihab. Volume 1 in this Lonehill's Complete Jazz Lab Studio Sessions mixes 13 tracks originally released on the LPs Jazz Lab, Modern Jazz Perspective, plus mutual tracks with the rare compilation Jazz Omnibus. Titles include "Nica's Tempo", "Smoke Signal", "Over The Rainbow", "Sans Souci", "Speculation", "Stablemates", "Steppin Out", "Social Call", "Satellite", "An Evening In Casablanca" and more! CD

Incredible work from the team of Donald Byrd and Gigi Gryce – crisp modern jazz, filled with soul, and never failing to swing! During the time of these recordings, Gryce was one hell of an arranger – with a tight ensemble approach that worked magic in a small combo setting. He was also a tremendous alto player – with a tone that was unlike any other musician at the time, magically sharp, with a sound that always seemed to inspire a great deal of energy from his bandmates. He gets plenty of that here from trumpeter Donald Byrd – sounding better on these sides than on most of his other 50s recordings – thanks also to some great accompanists, who include Tommy Flanagan, Wendell Marshall, and Art Taylor. Jackie Paris also joins the group on vocals for a few tunes – "Early Morning Blues" and "Elgy" – and some tunes feature additional horn work from players that include Benny Powell, Julius Watkins, and Sahib Shihab. Other tracks include "Sans Souci", "Speculation", "Stablemates", "Steppin Out", "Social Call", and "Satellite". LP reissues the albums Jazz Lab and Modern Jazz Perspective. LP, Vinyl record album

A killer quartet session by Brit trumpeter Dizzy Reece, recorded as one of his three American albums for Blue Note during the late 50s! Unlike the other records, which featured larger groups, this album's done with a quartet – which gives Reece a chance to really take over on his solos – blowing with a sense of warm and lyricism that's not heard as strongly on the other records – really getting some great support from a rhythm trio that includes Walter Bishop Jr on piano, Doug Watkins on bass, and Art Taylor on drums. Quite different from some of Dizzy's London work of the time – and with tracks that include "A Ghost Of A Chance", "Our Love Is Here To Stay", "Blue Streak", "Eb Pob", and a nice version of "Yesterdays". LP, Vinyl record album

Wonderful stuff from one of the most overlooked arrangers of the 50s! Richards was Stan Kenton's right hand man at one time – and he's got a style that mixes jazz and modernism in the same style as Pete Rugolo, but with a bit more of a commitment to swinging. This rare 1958 set for Capitol is less experimental than the title might make you think – but the jazz is infused with plenty of freshness, and the whole thing's packaged in a really wonderful abstract cover! Players include Gene Quill, Ray Copeland, Frank Socolow, and Julius Watkins – and titles include "Terpischore", "Neolore", "This Time", and "Omo Ado". LP, Vinyl record album

A killer quartet session by Brit trumpeter Dizzy Reece, recorded as one of his three American albums for Blue Note during the late 50s! Unlike the other records, which featured larger groups, this album's done with a quartet – which gives Reece a chance to really take over on his solos – blowing with a sense of warm and lyricism that's not heard as strongly on the other records – really getting some great support from a rhythm trio that includes Walter Bishop Jr on piano, Doug Watkins on bass, and Art Taylor on drums. Quite different from some of Dizzy's London work of the time – and with tracks that include "A Ghost Of A Chance", "Our Love Is Here To Stay", "Blue Streak", "Eb Pob", and a nice version of "Yesterdays". CD

Beautiful hardbop from Boston – and one of the first-ever albums recorded by trumpeter Donald Byrd as a leader! The set was originally done for the obscure Transition label – also home to inventive early recordings by Sun Ra and Cecil Taylor – and as with those records, there's a very special sort of sound going on here – as the date's a quartet outing, with a very unusual group – with Ray Santisi on piano, Doug Watkins on bass, and Jim Zitano on bass – all giving Byrd plenty of room to solo in the lead. The record features a very different side than some of Donald's other early two-leader sessions (such as the dates with Pepper Adams) – especially as he blows with a warmth and moodiness that we don't normally hear from him at this point – sounding fantastic on titles that include "Little Rock Getaway", "If I Love Again", "What's New", and "Stella By Starlight". CD

Never-issued material from a key moment in the early career of trumpeter Donald Byrd – a time when he was working in Paris, and really starting to hit the soulful vibe that would open strongly on Blue Note albums to come! The work here is every bit as great as his early sides for that label – expertly executed, with a group that's co-led by European reedman Bobby Jaspar, who blows both tenor and flute, and gives a nicely different vibe to the proceedings than some of Byrd's early records with Pepper Adams – driven strongly by two different rhythm trios – one with Walter Davis on piano, Doug Watkins on bass, and Art Taylor on drums – the other with Jack Dieval on piano, Jacques Hess on bass, and Daniel Humair on drums. Both groups are great – and the tracks are long, and wonderfully recorded for French radio – with titles that include "Flute Bop", "Easy Living", "Paul's Pal", "Splendid", "Formidable", and "After You've Gone". LP, Vinyl record album

Trumpeter Louis Smith made only two records for Blue Note, but both of them are great! This set's arguably his most famous – because of a rare uncredited appearance by Cannonball Adderley, working here under the "nom de date" of "Buckshot La Funke" – and blowing with a power that beats most of his other Mercury sessions of the late 50s! But the real credit here should go to Louis Smith – who's got a sense of power and command that should have made him one of THE trumpeters of the 50s – an emerging young talent to stand alongside Lee Morgan, Nat Adderley, and other post-Fats Navarro/Clifford Brown talents on the instrument. Smith sparkles throughout with a mix of soul and modernism we really love – and an earthy way of blowing the horn that doesn't always reach its goals, but which draws even more energy from its ability to try! The rhythm section on the album's also very tight – with Art Taylor on drums, Doug Watkins on bass, and either Tommy Flanagan or Duke Jordan on piano – and tracks include "Ande", "Brill's Blues", "South Side", and "Val's Blues". LP, Vinyl record album

The first-ever release of a lost live performance from trumpeter Donald Byrd – material from that brief time when he was working on the Paris scene, and really pushing his music in new directions! As you'll note from the title, the group here also features the great reedman Bobby Jaspar – who blows both flute and tenor, and works alongside Byrd in tremendous formation – in part because there's a crack rhythm trio on the date – a Prestige/Blue Note-styled group that features Walter Davis on piano, Doug Watkins on bass, and Art Taylor on drums! The material was recorded with great fidelity by the French ORTF – far better than another live date with Byrd and Jaspar that's been floating around over the years – and the whole thing cooks like a stone classic that should have been issued on an American label in the late 50s, not languishing in the vaults for decades. Titles include "I Get A Kick Out Of You", "Long To You", "Flute Bop", "Boogie Woogie", "When Your Love Has Gone Away", and "It Could Happen To You". LP, Vinyl record album

Incredible work from the team of Donald Byrd and Gigi Gryce – crisp modern jazz, filled with soul, and never failing to swing! During the time of these recordings, Gryce was one hell of an arranger – with a tight ensemble approach that worked magic in a small combo setting. He was also a tremendous alto player – with a tone that was unlike any other musician at the time, magically sharp, with a sound that always seemed to inspire a great deal of energy from his bandmates. He gets plenty of that here from trumpeter Donald Byrd – sounding better on these sides than on most of his other 50s recordings – thanks also to some great accompanists, who include Tommy Flanagan, Wendell Marshall, and Art Taylor. Jackie Paris also joins the group on vocals for a few tunes – "Early Morning Blues" and "Elgy" – and some tunes feature additional horn work from players that include Benny Powell, Julius Watkins, and Sahib Shihab. Other tracks include "Sans Souci", "Speculation", "Stablemates", "Steppin Out", "Social Call", and "Satellite". CD

A killer quartet session by Brit trumpeter Dizzy Reece, recorded as one of his three American albums for Blue Note during the late 50s! Unlike the other records, which featured larger groups, this album's done with a quartet – which gives Reece a chance to really take over on his solos – blowing with a sense of warm and lyricism that's not heard as strongly on the other records – really getting some great support from a rhythm trio that includes Walter Bishop Jr on piano, Doug Watkins on bass, and Art Taylor on drums. Quite different from some of Dizzy's London work of the time – and with tracks that include "A Ghost Of A Chance", "Our Love Is Here To Stay", "Blue Streak", "Eb Pob", and a nice version of "Yesterdays". CD

A killer quartet session by Brit trumpeter Dizzy Reece, recorded as one of his three American albums for Blue Note during the late 50s! Unlike the other records, which featured larger groups, this album's done with a quartet – which gives Reece a chance to really take over on his solos – blowing with a sense of warm and lyricism that's not heard as strongly on the other records – really getting some great support from a rhythm trio that includes Walter Bishop Jr on piano, Doug Watkins on bass, and Art Taylor on drums. Quite different from some of Dizzy's London work of the time – and with tracks that include "A Ghost Of A Chance", "Our Love Is Here To Stay", "Blue Streak", "Eb Pob", and a nice version of "Yesterdays". CD

Trumpeter Louis Smith made only two records for Blue Note, but both of them are great! This set's arguably his most famous – because of a rare uncredited appearance by Cannonball Adderley, working here under the "nom de date" of "Buckshot La Funke" – and blowing with a power that beats most of his other Mercury sessions of the late 50s! But the real credit here should go to Louis Smith – who's got a sense of power and command that should have made him one of THE trumpeters of the 50s – an emerging young talent to stand alongside Lee Morgan, Nat Adderley, and other post-Fats Navarro/Clifford Brown talents on the instrument. Smith sparkles throughout with a mix of soul and modernism we really love – and an earthy way of blowing the horn that doesn't always reach its goals, but which draws even more energy from its ability to try! The rhythm section on the album's also very tight – with Art Taylor on drums, Doug Watkins on bass, and either Tommy Flanagan or Duke Jordan on piano – and tracks include "Ande", "Brill's Blues", "South Side", and "Val's Blues". CD

Trumpeter Louis Smith made only two records for Blue Note, but both of them are great! This set's arguably his most famous – because of a rare uncredited appearance by Cannonball Adderley, working here under the "nom de date" of "Buckshot La Funke" – and blowing with a power that beats most of his other Mercury sessions of the late 50s! But the real credit here should go to Louis Smith – who's got a sense of power and command that should have made him one of THE trumpeters of the 50s – an emerging young talent to stand alongside Lee Morgan, Nat Adderley, and other post-Fats Navarro/Clifford Brown talents on the instrument. Smith sparkles throughout with a mix of soul and modernism we really love – and an earthy way of blowing the horn that doesn't always reach its goals, but which draws even more energy from its ability to try! The rhythm section on the album's also very tight – with Art Taylor on drums, Doug Watkins on bass, and either Tommy Flanagan or Duke Jordan on piano – and tracks include "Ande", "Brill's Blues", "South Side", and "Val's Blues". CD

A great little Pretige blowing session album – featuring long long tracks, played by 2 groups of different players, both led by trumpeter Idrees Sulieman! Side one features the track "Roots" – a great laidback groover played by a sextet that include Sulieman on trumpet, Pepper Adams on Baritone, Frank Rehak on trombone, Bill Evans on piano, Doug Watkins on bass, and Louis Hayes on drums. Side two has Sulieman in the company of Cecil Payne on baritone, Jimmy Cleveland on trombone, Tommy Flanagan on piano, Doug Watkins on bass, and Elvin Jones on drums – on two tracks ("Down By The Riverside" and "Sometimes I Feel Like A Motherless Child"), both arranged by Alonzo Levister – with a dark feeling that's very unique. CD

One of the few early albums as a leader cut by trumpeter Benny Bailey – a tremendous talent, finally getting his due! Bailey is one of the great unsung talents of jazz, and he's always made top-shelf work – from his early days with Quincy Jones, to his later years as an American expatriot, recording for European labels like Ego and MPS. This rare early session is one of the few recorded for the super-hip Candid label – and it features Bailey's trumpet at the head of a tight combo that includes Phil Woods on alto sax and bass clarinet, Julius Watkins on French Horn, Les Spann on flute and guitar, Tommy Flanagan on piano, and rhythm from Buddy Catlett on bass and Art Taylor on drums. Despite the "big brass" title, there's no horn section here – and instead, most of the numbers have that sharp-edged modern sound we associate with Candid – with Watkins horn being the only other brass instrument, alongside the lighter lines of Woods and Spann. Titles include "Hard Sock Dance", "Tipsy", "Please Say Yes", and "Maud's Mood". CD

Beautiful hardbop from Boston – and one of the first-ever albums recorded by trumpeter Donald Byrd as a leader! The set was originally done for the obscure Transition label – also home to inventive early recordings by Sun Ra and Cecil Taylor – and as with those records, there's a very special sort of sound going on here – as the date's a quartet outing, with a very unusual group – with Ray Santisi on piano, Doug Watkins on bass, and Jim Zitano on bass – all giving Byrd plenty of room to solo in the lead. The record features a very different side than some of Donald's other early two-leader sessions (such as the dates with Pepper Adams) – especially as he blows with a warmth and moodiness that we don't normally hear from him at this point – sounding fantastic on titles that include "Little Rock Getaway", "If I Love Again", "What's New", and "Stella By Starlight". CD

A crackling date from Jackie McLean – a set that's got a more expansive feel than some of his earlier Blue Note work – filled with fire, far from the 50s – and really pointing the way towards his new directions to come! There's a hint of modernism in the mix, mostly on the tone from McLean's alto sax – but most numbers are forward-thinking, and played with a sense of perfection that's pure Blue Note all the way through – served up in original material penned by different members of the group – a killer lineup that includes a young Freddie Hubbard on trumpet, with Kenny Drew on piano, Doug Watkins on bass, and Pete LaRoca on drums. The whole set is wonderful – and titles include "Cool Green", "Torchin", "Bluesnik", "Drew's Blues", and "Blues Function". CD reissue includes 2 non-LP bonus cuts! CD

A crackling date from Jackie McLean – a set that's got a more expansive feel than some of his earlier Blue Note work – filled with fire, far from the 50s – and really pointing the way towards his new directions to come! There's a hint of modernism in the mix, mostly on the tone from McLean's alto sax – but most numbers are forward-thinking, and played with a sense of perfection that's pure Blue Note all the way through – served up in original material penned by different members of the group – a killer lineup that includes a young Freddie Hubbard on trumpet, with Kenny Drew on piano, Doug Watkins on bass, and Pete LaRoca on drums. The whole set is wonderful – and titles include "Cool Green", "Torchin", "Bluesnik", "Drew's Blues", and "Blues Function". LP, Vinyl record album

A crackling date from Jackie McLean – a set that's got a more expansive feel than some of his earlier Blue Note work – filled with fire, far from the 50s – and really pointing the way towards his new directions to come! There's a hint of modernism in the mix, mostly on the tone from McLean's alto sax – but most numbers are forward-thinking, and played with a sense of perfection that's pure Blue Note all the way through – served up in original material penned by different members of the group – a killer lineup that includes a young Freddie Hubbard on trumpet, with Kenny Drew on piano, Doug Watkins on bass, and Pete LaRoca on drums. The whole set is wonderful – and titles include "Cool Green", "Torchin", "Bluesnik", "Drew's Blues", and "Blues Function". CD