This 1975 MPS release continues Pork Pie’s cutting-edge exploration on the outer boundaries of fusion, jazz, and ethno. Keyboardist Van’t Hof, saxophonist Charlie Mariano, and guitarist Philip Catherine are joined by renowned Danish musician Bo Stief on electric bass and English drummer John Marshall of Soft Machine fame.

An overlooked vocalist inspired by Billie Holiday, Helen Carr never had time to make her mark on the history of jazz music during her short-lived career. Before her death at the age of 38 she only recorded two albums. Down In The Depths from 1955 sees Carr backed up by an all-star quintet including Charlie Mariano on alto saxophone, Stan Levey on drums, and Carr's husband, pianist Donn Trenner on piano.

Toshiko Mariano Quartet is the 1961 album from fourteen time Grammy Nominated pianist and composer Toshiko Akiyoshi - then known as Toshiko Mariano. Women have long been denied the credit they deserve in jazz. It must be noted that as a Japanese women in jazz, Akiyoshi had to battle for acceptance on many fronts. Jazz has been a patriarchy community from the beginning, and even critical praise of her playing could not help but take note of her gender. Leonard Feather, for example, writing at the time in the Encyclopedia of Jazz called out Akiyoshi's playing as "fiery, powerfully articulated and exceptionally fluent," but added that there was "nothing delicately feminine."

This 1956 session for Peggy Connelly was one of only two releases from the singer and her only album for Bethlehem. With arrangements by Russ Garcia, Connelly is backed by some of the finest West Coast musicians of the day on this collection of standards, including Charlie Mariano on alto sax, Bill Holman on tenor sax and Stan Levey on drums.

In 1974, some seven years after the first Basel ‘Sticksland’ meeting, a 36-man percussion extravaganza took place that once again featured a top-flight jazz ensemble together with the Basel drum and fife corps of Alfred Sacher and Georges Mathys. Now add a Scottish drum and fife corps with the former and reigning Scottish drumming champions Jimmy Catherwood and Joe Noble, kilts and all, as well as some 300 fifers hidden in the audience of a theater packed to overflowing. The results: a Carnival Happening!

This 1963 album by legendary bassist/composer Charles Mingus is one easily one of the most impressive and sprawling works in jazz history. The album features the signature pathos of his earlier work—screaming saxophones, a rocking and unpredictable rhythm section, and explosions of harsh dissonance followed by intensely emotional interludes that recall the great Romantic composers. An absolutely essential addition to any music-lover’s library, "The Black Saint and the Sinner Lady" is a true and unparalleled benchmark of jazz composition and improvisation.

Philip Catherine is a Belgian jazz guitarist. He has been on the forefront of the European jazz scene since the sixties. His lond career includes work with many great artists like Chet Baker, Stéphane Grappelli, Charles Mingus, Dexter Gordon, Larry Coryell, Tom Harrell; his unique approach and sound, his dedication to music have been important and influential. "Guitars" is his third studio album, as leader, released in 1975 via Atlantic label.

Originally released on 10-inch vinyl in early 1955, this album spotlights some of the best from Blue Note's West Coast jazz roster of the day, as the title implies, recorded in Los Angeles and featuring prominent jazz musicians from both coasts such as Harry "Sweets" Edison, Stan Levey, Conte Candoli and Marty Paich. The "blindfold test" refers to the fact that this was originally issued with no credits, presenting a challenge to jazz fans to identify the players who were only revealed on the second volume of this series.

Originally released on 10-inch vinyl in early 1955, this album spotlights some of the best from Blue Note's West Coast jazz roster of the day, as the title implies, recorded in Los Angeles and featuring prominent jazz musicians from both coasts such as Harry "Sweets" Edison, Stan Levey, Conte Candoli and Marty Paich. The "blindfold test" refers to the fact that this was originally issued with no credits, presenting a challenge to jazz fans to identify the players who were only revealed on the second volume of this series.

One of Europe’s most dynamic players, Dutch Keyboardist Jasper Van’t Hof made his name playing with the likes of Jean Luc Ponty, George Gruntz, and Archie Shepp. Formed in 1974, the band boasts a lineup of jazz giants playing cutting-edge fusion. Van’t Hof’s intense brand of fusion reigns on Epoch, with reed maestro Charlie Mariano on alto sax and Jasper on electric piano as the story tellers.

For those who don’t know American saxophonist Charlie Mariano’s music, you’re in for a treat. For his legions of fans, this may be an album that has passed beneath your radar. Mariano is known in Europe for his eclectic play, ranging from jazz, fusion and pop to world music. The astounding lineup for this album includes keyboardist Jan Hammer of Mahavishnu Orchestra fame, Polish violin great Zbigniew Seifert, bassist Jack Bruce from the legendary rock group Cream, Soft Machine drummer John Marshall, and the amazing Asian percussionist Nippy Noya.

Philip Catherine is a Belgian jazz guitarist. He has been on the forefront of the European jazz scene since the sixties. His lond career includes work with many great artists like Chet Baker, Stéphane Grappelli, Charles Mingus, Dexter Gordon, Larry Coryell, Tom Harrell; his unique approach and sound, his dedication to music have been important and influential. "September Man" is his second solo album, released in 1974 via Atlantic label.

Drummer Elvin Jones may have been breaking down new rhythmic boundaries at the time with John Coltrane's Quartet but his own sessions as a leader were not all that innovative. This quartet set with altoist Charlie Mariano, bassist Richard Davis and either Roland Hanna or Hank Jones on piano is an example of how the avant-garde of the era was starting to influence the more mainstream players. The music is in general safe but enjoyable with the virtuosic bassist Richard Davis often taking solo honors on what was in reality a modern bop date.

West Coast jazz trumpeter Stu Williamson recorded this album in Los Angeles in 1956 with some of the best studio musicians of the day. He is accompanied on different tracks by a young Charlie Mariano on alto sax, Bill Holman on tenor sax and Mel Lewis on drums, while older brother Claude Williamson plays piano throughout the session.

Drummer Elvin Jones may have been breaking down new rhythmic boundaries at the time with John Coltrane's Quartet but his own sessions as a leader were not all that innovative. This quartet set with altoist Charlie Mariano, bassist Richard Davis and either Roland Hanna or Hank Jones on piano is an example of how the avant-garde of the era was starting to influence the more mainstream players. The music is in general safe but enjoyable with the virtuosic bassist Richard Davis often taking solo honors on what was in reality a modern bop date.