Morning Glory: The 1973 Concert at the Teatro Gran Rex, Buenos Aires is the first official release of pianist Bill Evans with Eddie Gomez and Marty Morell captured live at the Teatro Gran Rex in Buenos Aires, Argentina on June 24, 1973.

The Prophet, recorded in September 1967 and released on Verve in 1968, documents vibraphonist Cal Tjader in one of the final projects of his Verve period. The title will soon join the Verve Vault series, when it gets reissued on vinyl. Produced by Esmond Edwards and arranged and conducted by Don Sebesky, the album places Tjader within a richly orchestrated studio setting shaped by late-1960s jazz and Latin-inflected textures.

Richie Kamuca (1930–1977) was one of the finest tenor saxophonists of his generation, though never granted the full recognition his artistry deserved. Rising to prominence with Stan Kenton and Woody Herman in the early 1950s, he settled in Los Angeles in 1956 and soon became a leading voice on the West Coast scene, recording and performing with Chet Baker, Shelly Manne, Bill Perkins, Conte Candoli, and many others. Equally at home in big bands, studios, and small groups, Kamuca blended the cool lyricism of Lester Young with the fluent drive of Stan Getz and Zoot Sims, ultimately forging a highly personal style.

Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording. AllMusic notes that with fine backup by pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, Bags and Trane stretch out on two of Jackson's originals (including "The Late Late Blues") and three standards: a romping "Three Little Words," "The Night We Called It a Day," and the rapid "Be-Bop." The highlight of the set is the eponymous opening track, which just oozes late-night cool.

Since there are not that many alumni of Duke Ellington's orchestra active, it is surprising that altoist Norris Turney (who was with Ellington from 1969-1973 and eventually replaced the unreplaceable Johnny Hodges) has not been recorded all that extensively during the 20 years since. In fact, his Mapleshade debut is the 72-year-old's first session at the head of a quartet and the music's obvious success is even more impressive when one realizes that Turney had never played with the other musicians (pianist Larry Willis, bassist Walter Booker, and drummer Jimmy Cobb) before. Norris Turney is a melodic swing player with a large tone and, since the rhythm section is quite supportive and sympathetic, these renditions of blues, ballads, and standards (including his own "Checkered Hat" and three Ellington/Strayhorn pieces) came together rather quickly. Highlights include the lengthy "Blues for Edward," "Blood Count," and "Come Sunday."

June Christy was an American singer, known for her work in the cool jazz genre and for her silky smooth vocals. Her success as a singer began with The Stan Kenton Orchestra. She pursued a solo career from 1954 and is best known for her debut album Something Cool. After her death, she was hailed as "one of the finest and most neglected singers of her time."

This release features historic early 1950s recording sessions that capture the very beginning of the legendary ensemble's 40-year history. It highlights the distinct transition from the Milt Jackson Quartet into what became the world-renowned Modern Jazz Quartet (MJQ).

Recorded live at the Black Hawk, San Francisco in September 1959, “At The Blackhawk, Vol 1” is the first of 4 volumes released in 1960. Featuring six cuts, Manne (drums), is joined by Joe Gordon (trumpet), Richie Kamuca (tenor sax), Victor Feldman (piano) and Monty Budwig (bass). This new edition features remastered hi-res audio from the original tapes.

The Legendary Scott LaFaro is a highly regarded compilation showcasing the revolutionary bassist's brief but immense career (roughly 1958-1961), featuring his work with Bill Evans, Ornette Coleman, and others. It highlights his melodic, fluid, and high-register style, which redefined modern jazz bass, with recordings often hailed as "genius" and essential for jazz history.

Born in Detroit in 1932, Dorothy Ashby can be easily recognized as the woman who gave the harp a jazz voice. In her hands, the harp, an originally classical instrument which seemed to just scare people, became a highly versatile swinging voice able to drive a whole jazz rhythm section. Recorded in 1958 by master Rudy Van Gelder and originally released on the Prestige label, Hip Harp is a perfect example of Ashby's artistry. At the head of a fine quartet featuring the great Frank Wess on flute, Herman Wright on bass, and master Art Taylor on drums, Ashby creates a unique combination of deeply jazz elements expressed through a totally new sound.

Chet Baker's masterpiece, weaving the charm of standard songs through vocals and trumpet. From among numerous mono master tapes, we relentlessly sought out the tape believed to be “the original!” and presented the sound recorded 70 years ago via DSD mastering on a Super Audio CD hybrid disc.

Arthur Edward Pepper Jr. was an American jazz musician, most known as an alto saxophonist. He occasionally performed and recorded on tenor saxophone, clarinet (his first instrument) and bass clarinet. Active primarily in West Coast jazz, Pepper first came to prominence in Stan Kenton's big band. He was known for his emotionally charged performances and several stylistic shifts throughout his career, and was described by critic Scott Yanow as having "attained his goal of becoming the world's greatest altoist" at the time of his death in 1982.

The harp is not an instrument that easily gives itself over to free swing and quick improvisations. That’s one of the reasons why there have been very few credible jazz harpists. In fact, I can only think of four working today: Lori Andrews, Edmar Castaneda, Deborah Henson-Conant and Brandee Younger.

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process. Other highlights include the rarely covered ballad "Jim" and the even more obscure "Brotherhood of Man" from the Broadway musical How to Succeed in Business Without Really Trying. A very engaging and enjoyable disc.

Comin' On with the Chet Baker Quintet is an album by trumpeter Chet Baker which was recorded in 1965 and released on the Prestige label in 1967.