Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward.

This five-LP box set (which has been reissued on CD) contains nearly all of Stan Getz's classic bossa nova sessions, five wonderful yet diverse LPs (Jazz Samba, Big Band Bossa Nova, Jazz Samba Encore, Stan Getz/Laurindo Almedia, and Getz/Gilberto). The cool-toned tenor is heard on his groundbreaking collaboration with guitarist Charlie Byrd (which resulted in the best-selling "Desafinado"), is showcased with a big band arranged by Gary McFarland (introducing "No More Blues" and "One Note Samba"), stars in recordings with guitarists Laurindo Almeida and Luiz Bonfa, and is heard at the famous meeting with composer/pianist Antonio Carlos Jobim, guitarist João Gilberto, and singer Astrud Gilberto, which resulted in the major hit "The Girl From Ipanema." This essential set finishes off with three previously unissued performances from a 1964 Carnegie Hall Concert, concluding with a remake of "The Girl From Ipanema." These recordings stand as proof that it is possible for good music to sell.

4CD set. Collects six original albums, including "Man Of Many Parts", "Calm, Cool & Collette", "Nice Day With Buddy Collette", "Jazz Loves Paris", "The Polyhedric Buddy Collette" and "Marx Makes Broadway". An important force in the Los Angeles jazz community, Buddy Collette was an early pioneer at playing jazz on the flute.

The music made by Quincy Jones during the second half 1950s was a stunning example of contemporary jazz during that pivotal decade for the form. Listening back today to these groundbreaking records delightfully illustrate how the dynamic musician, performer, composer and arranger first introduced his extraordinary skills to the world. After spending the first half of the decade working for other musicians, including a number of freelance commissions arranging songs for renowned artists such as Dinah Washington, Duke Ellington, and his close friend Ray Charles, Jones soon decided it was time for him to take the lead. The first album release to feature Quincy as a named artist was the 1955 release on Mercury Records 'Jazz Abroad' on which he featured alongside jazz drummer Roy Haynes. Next up was, 'That's How I feel About Jazz' featuring an all star cast including Art Farmer, Lucky Johnson & Phil Woods - following which he would record and release a further six albums before the end of the 1950s, all for Mercury. Quincy Jones first eight albums, all released during this period, are featured on this 4CD set in their entirety, in glorious re-mastered sound, making this package the most complete Quincy Jones 1950s collection available today.

Born in Great Barrington, Massachusetts on April 14 1924, Milton "Shorty" Rogers was an American jazz musician, and one of the principal creators of West Coast jazz. He played trumpet and flugelhorn and was in demand for his skills as an arranger. He worked first as a professional musician with Will Bradley and Red Norvo. From 1947 to 1949, he worked extensively with Woody Herman and in 1950 and 1951 he played with Stan Kenton. Shorty Rogers only produced a couple more albums during the later 1960s, working largely as a sideman during this time. In the seventies he was equally quiet, and while there were a couple of stray releases in the 1980s, the records featured on this four CD set pretty much present the finest music this maverick musician and composer ever made. A superb starting point for those new to the great man’s records, and a delightful reminder for those already familiar, a collection of this magnitude is wholly overdue and this set will surely become the go-to source for fans everywhere.

Iconic Jazz artist Erroll Garner's greatest concert album and one of the best selling jazz albums of all time, The Complete Concert By The Sea celebrates the 60th Anniversary of the original concert from September 19, 1955. The complete live concert recording newly uncovered by the Erroll Garner Jazz Project and digitally remastered in its entirety after six decades is produced by Guggenheim Award-winning jazz pianist and Director of Jazz Studies at the University of Pittsburgh Geri Allen and 4-time GRAMMY Award-winning producer Steve Rosenthal. The 3-CD box set contains the complete live Concert By The Sea including 11 previously unreleased tracks, the original edited Columbia release from 1956 and bonus material including announcer Jimmy Lyons and interviews with the Erroll Garner trio: Denzil DaCosta Best, Eddie Calhoun, and Garner himself, recorded directly after the concert.

In a three-year period, Stan Getz played with bands featuring either pianist Duke Jordan or a young Horace Silver. This is the boppin' Getz on tenor, playing standards fervently. There are two Gigi Gryce originals, the Getz original "Hershey Bar," and Silver's "Penny" among the 24 tracks. This is a decent introduction to the pre-bossa nova player the world would later know.

One of the most infamously acrimonious musical unions transpired between two of the leading purveyors of West Coast cool jazz: Chet Baker (trumpet) and Stan Getz (tenor sax). Their paths crossed only a handful of times and West Coast Live captures two of their earliest encounters in Los Angeles at the Haig on June 12, 1953, and the Tiffany Club on August 17, 1953. These recordings have been issued in Europe and Japan ad infinitum in varying degrees of quality, completeness, and often sporting erroneous data. However, enthusiasts should note that West Coast Live is the only release derived from producer/engineer Dick Bock's own master reels. For two men who purportedly would rather not be in the same room at the same time, Baker and Getz are able to create some legitimately brilliant improvisation. For the Haig set, Getz had been brought in to co-lead a quartet with Baker for an incarcerated Gerry Mulligan.

An Adventurous Dream - the Music of Billy Strayhorn and Duke Ellington At PizzaExpress Live in London is a recording made by Ian Shaw (voice), Tony Kofi (alto saxophone), Barry Green (piano) and Dave Green (bass) for PX Records, PizzaExpress's own label dedicated to fine live recordings made at its London venues in Soho, Holborn and Chelsea.

Stan Getz was such a consistent performer and had such a beautiful tone that nearly all of his recordings are well worth getting. The two radio appearances heard on this 1997 CD are even on a higher level than normal. Joined by pianist Kenny Barron, either Ray Drummond or Yashuito Mori on bass, and drummer Ben Riley, Getz is heard at the peak of his powers on a pair of obscurities (Kenny Barron's "Feijada" and Gigi Gryce's "Stan's Blues") and six numbers (including "Voyage," "Blood Count" and "Warm Valley") that he recorded numerous times. To hear Getz adding even more beauty to Mal Waldron's already gorgeous "Soul Eyes" is a memorable experience.

‘Quintet Sessions 1979’ is the follow-up to Dot Time’s critically acclaimed re-release of Wolfgang Lackerschmid and Chet Baker’s Ballads For Two. A continuation of Lackerschmid’s great adventure with one of the greatest trumpet players in the history of the art form, the album features the spirited duo of iconic trumpeter and vocalist Chet Baker and vibraphonist Wolfgang Lackerschmid alongside a stellar rhythm section made up of jazz luminaries Larry Coryell (guitar), Buster Williams (bass) and Tony Williams (drums).

Originally released on vinyl in 1979, Ballads For Two finds both musicians at the top of their game. Recorded on the 8th and 9th January 1979 in Stuttgart, Germany, this original vinyl release was not widely distributed. Now available for the first time on CD, the combination of Wolfgang's originals & well chosen covers is stunning. Baker's trumpet is emotive and telepathic with Wolfgang's vibes. Two bonus tracks are added from the original recording session. Chet plays a beautiful muted trumpet on the alternate take of Why Shouldn’t You Cry. Both musicians really stretch out on Double O, a Lackerschmid original. A Four Star review from Downbeat noted, "Ballads For Two arrives as an unexpected treat, defying Baker's detractors and placing him with success in unfamiliar surroundings." Highlights are Blue Bossa & Waltz For Susan.

On "Lockdown Releases" you follow the path of Wolfgang Lackerschmid's creative and varied musical history from the late seventies till 2020. All these tracks were either digitally remastered, finally completed or even recorded during the lockdown in spring 2020.

Miles Davis' concert of February 12, 1964, was divided into two LPs, with all of the ballads put on My Funny Valentine. These five lengthy tracks (specifically, "All of You," "Stella by Starlight," "All Blues," "I Thought About You," and the title cut) put the emphasis on the lyricism of Davis, along with some strong statements from tenor saxophonist George Coleman and freer moments from the young rhythm section of pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. This hour-long LP complements the up-tempo romps of Four & More.

Jazz from The Pacific Northwest combines two previously unissued concert recordings from one of the greatest jazz drummers of all-time, Shelly Manne. The first recording features Monty Budwig on bass, Russ Freeman on piano, Stu Williamson on trumpet, and Herb Geller on flute and alto saxophone recorded at the Monterey Jazz Festival on October 4, 1958. The second recording features Hampton Hawes on piano, Frank Strozier on flute and alto saxophone, Conte Condoli on trumpet and guest vocalist Ruth Price on two tracks recorded at the Penthouse jazz club in Seattle on September 7 and 15, 1966.