In the summer of 1956, the famed Harlem congressman Adam Clayton Powell arranged for Dizzy Gillespie to embark on a worldwide goodwill-ambassador tour sponsored by the State Department. Gillespie and an all-star big band featuring trumpeter Quincy Jones, the late trombonist Melba Liston, alto saxophonist Phil Woods, and tenor saxophonist Benny Golson performed in Ecuador, Argentina, Uruguay, and Brazil to frenzied, beret-wearing fans. Recordings were made but they weren't commercially available and were played only for a select group of musicians before Gillespie's death in 1993. Now the sides have been released, showcasing Dizzy at his bebopping best.

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.

This set features a very logical matchup. Richie Cole's main influence has long been Phil Woods, so these concert performances pitting the two altoists together have plenty of fire and extroverted improvisations. With pianist John Hicks, bassist Walter Booker and drummer Jimmy Cobb backing the soloists, Woods and Cole really push each other on "Scrapple from the Apple," "Donna Lee" and "Side by Side." Tenor-great Eddie "Lockjaw" Davis sits in on "Save Your Love for Me," the younger altoist has "Polka Dots and Moonbeams" to himself and Cole and Woods have fun on a brief free-form "Naugahyde Reality." It's a generally high-powered and enjoyable set.

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.

This was one of the great touring and recording bands of the 1980s, Harrell and Woods inspiring each other and the rhythm section inquiring and swinging. Woods didn't need to change anything about his own style, but it blossoms anew in counterpoint with Harrell's lyrical fire, and each album is handsomely programmed and delivered … Flash, the final album with Harrell (who has since been replaced by Hal Crook as the front-line horn), has the edge of some outstanding composing by the trumpeter – "Weaver" and "Rado" are particularly sound vehicles – and Crook's extra tones on a few tracks.

During a major portion of his career, Phil Woods predominately led a quartet or quintet, so the opportunity to work with his Little Big Band gave him a special pleasure, by expanding both the brass and reeds to an octet. His third release to feature the octet includes his working quintet at the time, including trombonist Hal Crook, pianist Jim McNeely, plus his longtime rhythm section, bassist Steve Gilmore and drummer Bill Goodwin. Guests include Woods' former sideman trumpeter/flugelhornist Tom Harrell, alto and baritone saxophonist Nick Brignola, plus alto and tenor saxophonist Nelson Hill. Although the economics of touring with a band this size made it impossible to tour, the musicians dove into the difficult arrangements with plenty of gusto and end up sounding as if they had been playing them in concert for months…

One of the best all-star sessions ever produced by the legendary Creed Taylor. Actually, this album represented the ressurrection of the CTI label in 1990. Digitally recorded and filmed (in High Definition) "live" at Van Gelder's studio, features such stars as Dizzy Gillespie, Airto, Flora Purim, Anthony Jackson, Art Farmer, John Scofield, and Phil Woods, who play together in such outstanding tracks like Michel Camilo's "Caribe" and Salif Keita's "Wamba", all arranged by Benny Golson.

Phil Woods is at the peak of his powers during these 1997 sessions for Venus, leading his regular quintet (Brian Lynch, Bill Charlap, Steve Gilmore, and Bill Goodwin) through a set of songs he's played for decades, along with some originals likely written for this outing. The alto saxophonist navigates Charlie Parker's "Chasin' the Bird" and "Charlie's Wig" with the finesse of the master that he is. The interplay between the leader and Lynch in the former tune indicates that the younger musician is a force to be reckoned with. They also work well together in the dissonant "Israel," long a favorite of boppers. Woods' unaccompanied introduction to "Everything Happens to Me" is simply breathtaking. Woods is also a fairly prolific composer…

Altoists Phil Woods and Gene Quill always made for a mutually inspiring team. Both of the similar-sounding musicians were competitive, influenced by (but not imitative of) Charlie Parker, and really knew bebop. This LP features the two altoists in top form on six of Woods' obscure originals, plus "Airegin" and "Solar." The rhythm section (pianist George Syran, bassist Teddy Kotick, and drummer Nick Stabulas) is tasteful and quietly supportive.

Even with Phil Woods standing out, the "four altos" on this jam session all sound pretty similar. Few listeners will be able to consistently pick out which solos are by Gene Quill and which by Sahib Shihab, Hal Stein or Woods. The solos (and the backup of pianist Mal Waldron, bassist Tommy Potter and drummer Louis Hayes) are generally hard-swinging and well-played, but the strong influence of Charlie Parker makes all of the altoists sound alike.

Altoist Phil Woods' second recording as a leader is a rather brief 33-minute set. Accompanied by a quiet but swinging rhythm section (pianist John Williams, bassist Teddy Kotick, and drummer Nick Stabulas), Woods swings hard on four standards (including "Slow Boat to China" and "Be My Love"), plus a pair of his originals: "Strollin' with Pam" and "Woodlore." The altoist displays plenty of energy and a strong command of the bebop vocabulary, sounding quite enthusiastic.