This was Ammons' final recording before "being made an example of" and getting a lengthy jail sentence for possession of heroin; his next record would be cut over seven years later. The music is surprisingly upbeat, with Ammons joined by two guitars (Bucky Pizzarelli and Kenny Burrell), a fine rhythm section (pianist Hank Jones, bassist Norman Edge, and drummer Oliver Jackson), and the bongos of Al Hayes for a set of Latin-flavored jazz that was masquerading as bossa nova.

A decent 12-song compilation of the group's singles, several of which, including "My Tani" and "Frogg," were never on their individual albums. The mix of tempos and sources encompasses everything from the two moody singles "Greenfields" and "The Green Leaves of Summer" to playful songs such as "Frogg," gospel material ("Nobody Knows"), and robust, stomping pieces ("I Am a Roving Gambler," "Nine Pound Hammer"). The sound is decent, but there's no annotation on this low-priced CD, a straight conversion of a 1967 album.

Peggy Lee is in fine voice throughout this jazz-flavored set, backed by ensembles arranged by Benny Carter, Billy Byers, Billy May, and Shorty Rogers. One of her better recordings from the early ’60s.
Where some of Peggy's albums in the 1960's included much forgettable contemporary material that hasn’t stood the test of time too well, this album features a program of songs that range from contemporary show tunes ("I Beleive In You" and "The Sweetest Sounds"), an excursion into the blues ("See, See Rider") and the great American song book ("When The Sun Comes Out" and "I’ve Got The World On A String") plus a few lesser known numbers for good measure.

Rather than play a watered-down version of bossa nova in New York studios (which was becoming quite common as the bossa nova fad hit its peak in 1962), flutist Herbie Mann went down to Brazil and recorded with some of the top players of the style. Guitarist Baden Powell and the group of then-unknown pianist Sergio Mendes, which included drummer Dom Um Romao, formed the nucleus for this generally delightful album. Antonio Carlos Jobim himself dropped by to sing two of his compositions, including "One Note Samba," and even on the token jazz standard "Blues Walk," the music is as much Brazilian as it is jazz.

Two classic Hooker LPs, all digitally re-mastered, 22 solid slabs of dark, leathery, brooding nostalgia. This is the electric blues at its very roots. This stripped-bare, one man and a growling electric guitar (on most tracks) music is the stuff those guys who fled the south for the auto production lines in the north used to listen to. Hooker’s ‘talking blues’ style is well represented on Folk Lore. Great numbers like I’m Going Upstairs (and we all know what John was going up for), I Like to See You Walk and My First Wife Left Me start to haunt you like some swamp ghost. The Folk Blues tracks are no less powerful. Half A Stranger, Shake, Holler And Run, Down Child and Gonna Boogie all roll into one another to form a big, dusty landscape punctuated by mid-20th century American industry.

Avid Jazz presents three classic Ella Fitzgerald albums plus including original LP liner notes on a finely re-mastered double CD.
A live set kicks off our Ella Fitzgerald tribute, “Mack The Knife” was recorded in 1960 in Berlin as part of the Jazz at the Philharmonic International tour. It features Paul Smith on piano, Jim Hall on guitar, Wilfred Middlebrooks on bass and Gus Johnson on drums. A rather portentious title greets our next selection “Let No Man Write My Epitaph” featuring Paul Smith again on piano recorded in L.A. in 1960.This album features the music from a film of the same name Ella had appeared in plus numbers that Ella just felt were right to complete the record. A year on from “Mack the Knife” featuring Ella in Berlin, we have “Ella in Hollywood”…

John Lee Hooker developed a “talking blues” style that became his trademark. Though similar to the early Delta tradition, his metrically free approach and unique sound would make him a staple of the Detroit blues tradition. Often called the “King of the Boogie,” Hooker's driving, rhythmic approach to guitar playing has become an integral part of the blues. His thunderous electric guitar sounded raw, while his basic technique was riveting.
This quintessential release includes two of Hooker's finest albums: Burnin' (1962) - with a full-band accompaniment and featuring the chart success “Boom Boom,” one of Hooker's most identifiable and enduring songs, plus Plays and Sings The Blues (1961) which was filled with 1951-1952 solo­recordings and gems from Hooker's early days. Both masterpieces have been remastered and packaged together in this very special collector's edition, which also includes 3 bonus tracks…

In 1962 Benny Goodman had a historic visit to the Soviet Union, touring with a big band full of young all-stars. After the orchestra returned to the U.S., tenor saxophonist Al Cohn (who had not made the trip but did write some of Goodman's charts) put together an album (also released by Colpix) using many of the sidemen and paying tribute to the event. Strangely enough none of the six numbers are Cohn originals and he does not play on the record although he arranged all of the music. Of the six songs, "Mission to Moscow," "Let's Dance" and "Russian Lullaby" were part of Goodman's repertoire. Altoist Phil Woods effectively doubles on clarinet and other soloists include tenor saxophonist Zoot Sims, trumpeter Marky Markowitz and trombonist Willie Dennis. An interesting set of modern swing.

Between 1957 and 1968, Ray Conniff had 28 albums in the American Top 40. He started out at Columbia Records as their home arranger, backing artists such as Rosemary Clooney, Johnny Mathis, and Johnnie Ray, with his orchestra and was eventually offered the chance to do his own record. We Wish You a Merry Christmas is packed with traditional holiday tunes that Conniff and his (25) Singers wove into a series of medleys. This album has a retro studio sound, which, upon listening, may conjure up images of Lawrence Welk singers strolling the stage, dressed in matching holiday garb. Sometimes melodramatic ("Ring Christmas Bells"), other times, bright and exuberant ("Let it Snow! Let it Snow! Let it Snow!"), it's good, clean fun for the whole family and a solid addition to any Christmas catalog.

Herb Ellis is known primarily for playing with small ensembles, so this recording as part of an octet is a departure for the great guitarist. This "all-star" combo includes trumpeter Roy Eldridge in a sublimated role, while tenor saxophonist Buddy Tate is featured a bit more, and pianist Ray Bryant solidifies the nucleus of a very talented band of old pros and unsung heroes. Trumpeter Frank Assunto may not be a common garden-variety name to most, but he asserts himself quite well during this session. Twin bass underpinnings from Israel Crosby and Jimmy Rowser add heft to the rhythm section, while always reliable drummer Gus Johnson shows his mettle as a solidly swinging timekeeper. The fare is split between standards, originals, and favorites, including Duke Ellington's rousing "It Don't Mean a Thing" with the jamming Eldridge leading the charge, and "Things Ain't What They Used to Be" as everyone joins in and Assunto takes a fine, distinctive solo…

This CD (which augments the original LP program with two alternate takes) is a fine showcase for vocalese master Eddie Jefferson. Backed by either a tentet or a quintet that gives solo space to altoist James Moody and the tenor of Johnny Griffin, Jefferson sings his lyrics to such numbers as "Take the 'A' Train," "Billie's Bounce," "I Cover the Waterfront," "Parker's Mood" (the latter differs from the famous lines immortalized by King Pleasure), "A Night in Tunisia," and "Body and Soul," among others. Jefferson is in prime form and these boppish renditions as a whole form a near classic.

Tenor saxophonist Sonny Rollins' first recording after ending a surprising three-year retirement found the great saxophonist sounding very similar to how he had played in 1959, although he would soon start investigating freer forms. In a pianoless quartet with guitarist Jim Hall, bassist Bob Cranshaw, and drummer Ben Riley, Rollins explores four standards (including "Without a Song" and "God Bless the Child") plus two fiery originals, highlighted by the title cut. The interplay between Rollins and Hall is consistently impressive, making this set a near-classic and a very successful comeback.

Tenor saxophonists Gene Ammons and Sonny Stitt co-led a small group in 1950, and this follow-up, taped in the studio in 1961, finds the two picking up where they left off. The highlight of the date is the jointly written "Blues up and Down," a classic jam which has since inspired a number of other tenor match ups to record it, especially Eddie "Lockjaw" Davis and Johnny Griffin. Ammons' repetitious one-note melody within "The One Before This," like Duke Ellington's deceptively simple two-note theme "C Jam Blues," leads to some inspired improvising by both men. Stitt switches to alto sax for a loping take of "There Is No Greater Love," during which Ammons' tenor provides the perfect foil. The rhythm section includes bassist Buster Williams, along with the somewhat obscure pianist John Houston and drummer George Brown.