Capuchin Swing is an album by American saxophonist Jackie McLean recorded in 1960 and released on the Blue Note label. It features McLean in a quintet featuring trumpeter Blue Mitchell, pianist Walter Davis Jr., bassist Paul Chambers and drummer Art Taylor. McLean and Mitchell do not play on “Don’t Blame Me”.

Recorded in one day in October 1951, these tracks allowed Miles Davis and Sonny Rollins to stretch out together like they had never done in the studio before, delivering fluid solos with warmth and emotion. The rest of the musicians on this pivotal session are equally praiseworthy: a teenage Jackie McLean on alto sax on most songs, pianist Walter Bishop and bassist Tommy Porter, all held together by the explosive drive of drummer Art Blakey.

"Swing, Swang, Swinging" is an album by American saxophonist Jackie McLean recorded in 1959 and released on the Blue Note label. This album is a straight ahead affair in which he mostly puts his stamp on standards. Few versions of "Let's Face The Music And Dance" and "I Love You" have ever had this much intensity and, when McLean digs into the ballad "What's New", he gives it a fiery passion that had never been heard before. Jackie McLean not only swings and swangs but he burns with the urgency, agony and ecstasy of the 1960s.

A rare outing for drummer Art Blakey performing with a big band. The 15-piece orchestra here gave Blakey the chance, or maybe the excuse, to pound his drums even louder and more aggressively than in his usual small-combo setting. Blakey preferred the freedom of small bands, but several of the musicians who worked with him on this album thought he was at his best drumming in a big band context. And some of the names in Blakey's band on this album? John Coltrane, Donald Byrd and Al Cohn, among many others.

Maybe not exactly the first Dizzy that comes to mind when discussing jazz, this Jamaican-born, British-raised trumpeter overcame whatever burdens that nickname may have wrought to become a highly respected player in the New York scene. He enhanced that rep by recording some truly excellent albums for the Savoy, Blue Note and Prestige labels among others. His robust and passionate playing styles always seemed to inspire other musicians in his company. The contributions of the esteemed trio invited; pianist Walter Bishop, Jr., bassist Doug Watkins and drummer Art Taylor unilaterally match the front man's fire and bold approach to each tune.

Maybe not exactly the first Dizzy that comes to mind when discussing jazz, this Jamaican-born, British-raised trumpeter overcame whatever burdens that nickname may have wrought to become a highly respected player in the New York scene. He enhanced that rep by recording some truly excellent albums for the Savoy, Blue Note and Prestige labels among others. His robust and passionate playing styles always seemed to inspire other musicians in his company. The contributions of the esteemed trio invited; pianist Walter Bishop, Jr., bassist Doug Watkins and drummer Art Taylor unilaterally match the front man's fire and bold approach to each tune.

The first release on Black Jazz was by pianist and label producer Gene Russell; for the label's second release, Russell chose another piano man of impeccable taste, Walter Bishop, Jr. But while much of Russell's record consisted of songs composed by others, Bishop's record features all originals, most notably 'Soul Turn Around,' a groover that later turned up on Freddie Hubbard's 1969 LP A Soul Experiment.