"The Turnaround!" is jazz tenor saxophonist Hank Mobley's 1965 Blue Note release. The hard bop, soul jazz instrumentalist and composer collaborated with some of the '60s most proficient jazz musicians on this release, including Herbie Hancock, Philly Joe Jones, Paul Chambers, Freddie Hubbard and Donald Byrd, among others.

Mobley's Message is an album by jazz saxophonist Hank Mobley. It was recorded on July 20, 1956 and features performances by Mobley, Donald Byrd, Barry Harris, Doug Watkins and Art Taylor, with Jackie McLean guesting on one track.

On his landmark album, "One on One", legendary trumpeter/flugelhorn player Clark Terry performs intimate duets with 14 of the world's greatest living pianists. Conceived as a "tribute" album of sorts, this 96/24 recording spotlights the artistry of not only Terry but also the masters of 20th-century jazz piano and composition: each pianist performs an homage to his or her own jazz hero. A once-in-a-lifetime recording for jazz fans and audiophiles alike.

For well over 50 years, bebop pianist Barry Harris has been preaching the gospel of Bird, Bud and Monk. On this 1975 release, Harris is joined by bassist George Duvivier and drummer Leroy Williams, veterans of New York City's music wars who worked and recorded with most of the greats of the post bop generation. The trio performs six Harris compositions, two bop classics and one standard.

"Gettin' Around" is an album by American jazz saxophonist Dexter Gordon recorded in 1965 and released on the Blue Note label. The review in Billboard Magazine called Gordon's playing "cool and hot", especially praising his improvisations on "Heartaches". The support of the rhythm section was said to be "A-1 all the way".

In the course of a long and illustrious career, Hawkins has subjected his style to continuous development. Intellectually and technically flexible, the style has always remained the man, distinctive and personal. This album reveals a new deployment of resources, a new viewpoint arrived at after a period of reflection.

"Clubhouse", recorded in 1965 on a visit home to the US while Dexter Gordon was living and working in Europe, went unreleased for 14 years. It's possible that Blue Note felt the market was saturated with Gordon product in the mid 1960s; the problem certainly wasn't the music itself or the players. Finally unveiled in 1979, this is now considered one of Gordon's best albums, a lost treasure. The musicians on the session include Freddie Hubbard on trumpet, Barry Harris on piano, Bob Cranshaw and Ben Tucker sharing bass duties and Billy Higgins on drums.

An innovator in mixing world music influences into jazz, there was considerable demand for Yusef Lateef's many recordings of the late 1950s and early 1960s that reflected his fascination with all things Asian; "Eastern Sounds" from 1961 is one of the multi-instrumental pioneer's best sellers. A stellar studio band helps Lateef realize his one-world vision of a music that knows neither stylistic boundaries nor expressive limitations.

Celebrated jazz trumpeter Lee Morgan paved the way for the popularity of ‘60s soul-jazz with the release of his definitive classic "The Sidewinder". The title track and one of Morgan’s signature tunes exemplified the soul-jazz genre, later becoming a jazz standard. Recorded in 1963 at Rudy Van Gelder’s studio, the highly successful album would chart on both the Billboard 200 and Billboard’s Top R&B albums. Its provocative phrasing and innovative technique mesmerized audiences. The album includes the hard-bop tracks “Gary’s Notebook”, “Hocus-Pocus” and “Boy, What a Night”. An absolute essential.

Celebrated jazz trumpeter Lee Morgan paved the way for the popularity of ‘60s soul-jazz with the release of his definitive classic The Sidewinder. The title track and one of Morgan’s signature tunes exemplified the soul-jazz genre, later becoming a jazz standard. Recorded in 1963 at Rudy Van Gelder’s studio, the highly successful album would chart on both the Billboard 200 and Billboard’s Top R&B albums. Its provocative phrasing and innovative technique mesmerized audiences. The album includes the hard-bop tracks “Gary’s Notebook”, “Hocus-Pocus” and “Boy, What a Night”. An absolute essential.

One of the major bop pianists of the last half of the 20th century, Barry Harris has long had the ability to sound very close to Bud Powell, yet he can also do convincing impressions of Thelonious Monk and has his own style within the bop idiom. He was an important part of the Detroit jazz scene of the 1950s, and has been a jazz educator since that era. This album have been recorded in 2000 for Japanese Venus Records.