Although John Lewis is listed as the leader (this album's alternate title is "John Lewis Presents Contemporary Music"), the pianist does not actually appear on this record and only contributed one piece ("Django"). On what is very much a Gunther Schuller project, Schuller composed "Abstraction" and was responsible for the adventurous three-part "Variants on a Theme of John Lewis (Django)" and the four-part "Variants on a Theme of Thelonious Monk (Criss-Cross)"; Jim Hall contributed "Piece for Guitar & Strings." One of the most successful third stream efforts, this LP combines avant-garde jazz with aspects of classical music. Among the more notable stars, altoist Ornette Coleman is on "Abstraction" and "Criss Cross" (both of which have been reissued in his Rhino CD box) and multi-instrumentalist Eric Dolphy is on both of the "Variants"…

Supported by either Bill Lee or Arthur Harper on bass and drummer Mickey Roker, Bryant is typically soulful, swinging and reasonably explorative on eight compositions that are highlighted by "Con Alma," "Milestones," his popular "Cubano Chant" and "Autumn Leaves."

Stanley Turrentine was just beginning to turn heads in jazz circles in the early '60s when he made an appearance at Minton's with guitarist Grant Green, pianist Horace Parlan, bassist George Tucker, and drummer Al Harewood. The group mixes hard bop with funk and soul jazz; Turrentine's tone, sound, and pacing are good, although he wasn't yet the master at ballads he would be later in his career. Standards and a couple of blues make up the repertoire, giving listeners a definitive look at the soulful Mr. T. near the beginning of his productive musical life.

This 1959 concert in Paris by Art Blakey's Jazz Messengers has been sporadically available on various labels, but this reissue in Verve's Jazz in Paris series is the best sounding and best packaged of the lot. Blakey's group of this period (Lee Morgan, Wayne Shorter, Jymie Merritt, and Walter Davis, Jr.) is in great form during an extended workout of Morgan's intense blues "The Midget," and Dizzy Gillespie's timeless "A Night in Tunisia" is kicked off by Blakey's an electrifying solo. But it is the addition of some special guests for the first two numbers that proves to be extra special. Bud Powell, sitting in for Davis, and French saxophonist Barney Wilen, on alto rather than his normal tenor sax, are both added to the band for inspired versions of Powell's "Dance of the Infidels" and "Bouncing with Bud." Morgan's trumpet playing is outstanding throughout the concert. This is one of the essential live dates in Art Blakey's rather extensive discography.

This 1961 set has appeared under Eric Dolphy's name, but it is, in fact, bassist Ron Carter's date - his first as a leader. Carter and Dolphy had played together in Chico Hamilton's group and on Dolphy's important 1960 date Out There. Where? has elements in common with both, but is closer to Hamilton's late-'50s chamber jazz than to the more outward-bound Dolphy date. As on the Dolphy session, Carter is heard on cello for three of the six tracks. Carter's skill is undeniable, but his playing on Where? is a bit polite and monochromatic. The easygoing duet with George Duvivier, for example, is a quiet, back-porch conversation that makes few demands on either of these bass giants. Dolphy - playing bass clarinet, alto sax, and flute - is a far more interesting prospect, even if he doesn't blow his face off to the extent he did in other settings…

Art Blakey & the Jazz Messengers hit their artistic peak with the powerful A Night in Tunisia. This incarnation of the group included Lee Morgan, Wayne Shorter, Bobby Timmons, and Jymie Merritt along with their leader, Blakey. As the Messengers entered their most fruitful period for Blue Note, Blakey drove his men relentlessly with powerful grooves, heavy swinging, and shouts of encouragement. This session documents the full power of his assertive leadership and the masterful playing of his sidemen, each rising to legendary status under his tutelage. Long known for their creative arrangements within the context of small-group jazz, the Messengers push the definition of hard bop and blues to the limit here…

Comin' Your Way is an album by jazz saxophonist Stanley Turrentine recorded for the Blue Note label. With Tommy Turrentine (trumpet), Horace Parlan (piano) George Tucker (bass), and Al Harewood (drums). Recorded at Englewood Cliffs, NJ. Small group. 1995 reissue of a sumptuous '60s Soul Jazz date. Horace Parlan at his bluesy best.

This Candid recording is such a major success that it is surprising that altoist Phil Woods has rarely recorded in this context. The all-star octet not only features the altoist/leader but trumpeter Benny Bailey, trombonist Curtis Fuller, baritone saxophonist Sahib Shihab, the innovative French horn player Julius Watkins (a major factor in this music), pianist Tommy Flanagan, bassist Buddy Catlett, and drummer Osie Johnson. This set (reissued by Black Lion on CD) consists entirely of Woods' five-part "Rights of Swing" suite, which clocks in around 38 minutes. The colorful arrangements use the distinctive horns in inventive fashion and the music (which leaves room for many concise solos) holds one's interest throughout. One of Phil Woods' finest recordings, it's a true gem.

Freddy (or Freddie) King is acknowledged as one of the great electric blues guitarists of all time. Here are both of Freddy's classic all-instrumental electric blues albums for the King label, Let's Hide Away and Dance Away with Freddy King (1961) and Freddy King Gives You a Bonanza of Instrumentals (1965), together on one 24-track CD! "Hide Away," "The Stumble" and "San-Ho-Zay" are the numbers that made King's rep and influenced guitarists on both sides of the Atlantic.

This two-fer in Impulse's 2011 reissue series offers trombonist Curtis Fuller's first two releases for the label, both recorded in 1961; they are his 18th and 19th overall. The first, Soul Trombone, recorded in November, is aptly titled and places Fuller as the leader of a stellar band that includes pianist Cedar Walton, trumpeter Freddie Hubbard, tenor saxophonist Jimmy Heath, Granville T. Hogan on drums, and either Jimmy Cobb or Jymie Merritt on bass. Of the six track on the set, three are originals, and they include the stellar hard bop offering "The Clan," the swinging "Newdles," and the breezy "Ladies Night." Two standard ballads here, "In the Wee Small Hours of the Morning," and Stan Getz's arrangement of "Dear Old Stockholm," are also beautifully delivered…

Gerry Mulligan Meets Ben Webster (1960). Make no mistake about it, the swing and bop start right here on this legendary 1959 session between baritone saxophonist Gerry Mulligan and tenor man Ben Webster. The opening track, Billy Strayhorn's "Chelsea Bridge" is lush and emotional and truly sets the tone for this album. With Jimmy Rowles on piano (his intro on "Sunday" sounds like a ragtimer like Willie "The Lion" Smith just pushed him off the stool before the band came in), Mel Lewis on drums, and the always superb Leroy Vinnegar on bass present and accounted for, the rhythm section is superbly swinging with just the right amount of bop lines and chords in the mix to spice things up. The ghost of Duke Ellington hovers over every note on this record (Billy Strayhorn was one of his main arrangers) and that is a very good thing, indeed…

Portrait In Jazz (1960). The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian trio (both of which preceded their famous engagement at the Village Vanguard), this Portrait in Jazz reissue contains some wondrous interplay, particularly between pianist Evans and bassist LaFaro, on the two versions of "Autumn Leaves." Other than introducing Evans' "Peri's Scope," the music is comprised of standards, but the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles and their versions of such tunes as "Come Rain or Come Shine," "When I Fall in Love," and "Someday My Prince Will Come" (which preceded Miles Davis' famous recording by a couple years) are full of subtle and surprising creativity. A gem…

After both John Coltrane and Cannonball Adderley left Miles Davis' quintet, he was caught in the web of seeking suitable replacements. It was a period of trial and error for him that nonetheless yielded some legendary recordings (Sketches of Spain, for one). One of those is Someday My Prince Will Come. The lineup is Davis, pianist Wynton Kelly, bassist Paul Chambers, and alternating drummers Jimmy Cobb and Philly Jo Jones. The saxophonist was Hank Mobley on all but two tracks. John Coltrane returns for the title track and "Teo." The set opens with the title, a lilting waltz that nonetheless gets an original treatment here, despite having been recorded by Dave Brubeck. Kelly is in keen form, playing a bit sprightlier than the tempo would allow, and slips flourishes in the high register inside the melody for an "elfin" feel. Davis waxes light and lyrical with his Harmon mute, playing glissando throughout. Mobley plays a strictly journeyman solo, and then Coltrane blows the pack away with a solo so deep inside the harmony it sounds like it's coming from somewhere else.