Pianist Red Garland recorded many sets in the late 1950s and early '60s, often (as in this case) with bassist Paul Chambers and drummer Art Taylor. Despite the LP length of this CD reissue (under 35 minutes), this is a particularly strong example of Garland's talents. His block chords are distinctive, as is his use of space, and the music always swings. The trio sounds in top form on "I Can't See For Looking," George Gershwin's "Soon," "Blackout" and a driving version of the classic blues "Castle Rock." Recommended.

This is an odd release by Rosemary Clooney, who's accompanied by keyboardist Buddy Cole and an unidentified rhythm section. Although the singer is in great form, Cole's extremely corny arrangements and his very dated sound on both organ and piano (which are frequently overdubbed, often in unison) threaten to make the entire session more of a nostalgia trip than something that will appeal to jazz collectors. Still, Clooney's pure swinging vocals on standards such as "'Deed I Do," "Blue Moon," "Do Nothin' Till You Hear From Me," and "This Can't be Love" are very rewarding, in spite of Cole's uninspiring backgrounds. The original Coral LP jacket reproduced in this Verve CD reissue (which will remain in print until May 2005) has a mini-LP paper jacket and sleeve as well as gossip columnist Earl Wilson's inane liner notes.

Ray Bryant's first solo piano album is rightfully considered a classic. Bryant, at the time thought of as a young modern traditionalist, has always felt perfectly at home playing the blues. He performs five original and diverse blues on this set along with "Lover Man" and "Rockin' Chair," showing that he really never needed a bassist or a drummer to sound like a complete band. This Prestige album was reissued in the Original Jazz Classics but thus far only as an LP; highly recommended in any case.

As any Monk aficionado knows, his solo piano performances were wonderful, idiosyncratic, living works of art that often wound up in completely different territory from where they began. Sometimes the results would be a little shakey; often they would be inspiring. Regardless, these solo performances were adventures, and that quality makes the double disc Monk Alone: The Complete Columbia Solo Studio Recordings, 1962-1968 irresistable.

Sonny Criss' second of seven Prestige albums (which has been reissued on CD under the OJC imprint) finds the passionate altoist using the same rhythm section as on the earlier date: pianist Walter Davis, bassist Paul Chambers, and drummer Alan Dawson. Criss is in fine form on five jazz standards (including a heated "Wee" and an emotional version of "Smile") plus Davis' gospel-ish "A Million or More Times." An excellent outing.

Largely continuing the blueprint of A Sense of Direction, Relativity finds Walt Dickerson mixing standards with adventurous yet upbeat originals. This time around, though, there's a subtext to Dickerson's standards selection: all three – "It Ain't Necessarily So," "I Can't Get Started," and "Autumn in New York" – had been previously recorded by Milt Jackson, which invited explicit comparisons and gave Dickerson a chance to show off how distinctive and pioneering his Coltrane-influenced approach to vibes really was.

Originally released in 1960 on Savoy Records; "Images of Curtis Fuller" is a hard-bop album from jazz trombonist Curtis Fuller. All compositions belongs to Fuller; he plays with Yusef Lateef, Wilbur Harden, Lee Morgan, McCoy Tyner, Jimmy Garrison, Milt Hinton, Clifford Jarvis and Bobby Donaldson.

This fine 1956 date features Jackson leading a session that moves with ease and authority through a relaxing eight-minute ride on Charlie Parker's "Now's the Time," an Ellington ballad medley, and a pair of the vibist's own blues-based, hard bop compositions. The real treat here is Lucky Thompson's tenor sax.

Vivaldi played an extremely significant role in the development of the solo concerto. Tomaso Albinoni is one of the most famous Venetian musicians of his time. Torelli was born in Verona and died in Bologna; he was a violinist and composer. Manfredini's Op.3 No.12 in C major is one of his best-known works. Benedetto Marcello was a lawyer, poet and a composer; his concerto for oboe in D-minor is very famous. Scarlatti was himself one of the greatest harpsichord virtuosi; he was the harpsichordist at the Spanish court in Madrid from 1729 until his death.

This excellent Columbia album was recorded less than a year after Dexter Gordon's well-publicized tour of the United States following a dozen years spent living in Europe. With assistance from such other major players as trumpeters Woody Shaw and Benny Bailey, vibraphonist Bobby Gordon sounds in superlative form on Woody Shaw's "The Moontrame," four standards and his own "Fried Bananas." In addition to the original program (which features Dexter with an all-star tentet), the 1997 CD reissue adds two 1979 features for vocalese singer Eddie Jefferson ("Diggin' It" and "It's Only a Paper Moon") which were originally released on Gordon's Great Encounters; trumpeter Shaw and trombonist Curtis Fuller co-star with Gordon. An excellent acquisition.

Album for the Young (Album für die Jugend), Op. 68, was composed by Robert Schumann in 1848 for his three daughters. The album consists of a collection of 43 short works. Unlike the Kinderszenen, they are suitable to be played by children or beginners. The second part, starting at Nr. 19 (Kleine Romanze), is marked Für Erwachsenere (For adults; For more grown-up ones) and contains more demanding pieces.

This is a typically tasteful Kenny Burrell record (reissued on CD) with the guitarist mostly emphasizing ballads. Five of the seven songs (which include "Make Someone Happy," "Since I Fell for You" and the theme from "A Streetcar Named Desire") find Burrell assisted by pianist Richard Wyands (who also played electric piano), bassist Reggie Johnson and drummer Lenny McBrowne. "'Round Midnight" is played by Burrell with pianist Joe Sample, bassist Johnson and drummer Paul Humphrey while "Blues in the Night" is an unaccompanied guitar solo. Although the music overall is well-played, no real sparks fly and the results often border on being sleepy.

To call this CD (a reissue of a Pablo date) an all-star session would be an understatement. Joining pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Bobby Durham are three classic trumpeters: Dizzy Gillespie, Clark Terry, and Freddie Hubbard. They clearly inspire each other (Gillespie flew in from the East Coast specifically for this date) and the music ("Daahoud," "Just Friends," the new blues "Chicken Wings," and a torrid version of "The Champ") has plenty of exciting moments. Other performances from the same date can be heard on The Alternate Blues, another LP reissued on CD through the Original Jazz Classics imprint.

A fifteen track, full digitally recorded CD; including well-known overtures from the great composers of the world; such as Borodin, Verdi,Rossini, Bizet, Mozart, Beethoven, Gluck and Weber.

Dave Brubeck has long served as proof that creative jazz and popular success can go together. Although critics who had championed him when he was unknown seemed to scorn him when the Dave Brubeck Quartet became a surprise success, in reality Brubeck never watered down or altered his music in order to gain a wide audience.