The Hawk Flies High is a 1957 album by jazz tenor saxophonist Coleman Hawkins. Apart from Barry Galbraith and Jo Jones on guitar and drums, the line-up of his accompanying sextet had a bebop background, namely J.J. Johnson on trombone, Idrees Sulieman on trumpet, pianist Hank Jones, and Oscar Pettiford on bass.

"Walkin’", now considered one of the earliest essential albums in the Miles Davis canon, comprises two classic 1954 sessions: one with a quintet; the other a sextet. The influential sextet session, featuring trombonist J.J. Johnson and Lucky Thompson on sax, took advantage of long-playing record technology with two extended jams that announced both the return of modern jazz musicians to a focus on the blues and the coming of the funky hard bop era. The quintet date, with underground legend Davey Schildkraut on alto sax, provides the first inkling of the trumpeter’s haunting muted style and introduces his classic composition "Solar".

Trumpeter Donald Byrd released this interesting and unusual album in 1965 featuring vocalists and a full horn section, building on the experimentation he began on this record's predecessor, "A New Perspective". Byrd is supported here by a typically superb band, notably a young Herbie Hancock on piano. Also playing on these original tunes by Byrd are Stanley Turrentine on tenor saxophone, Freddie Roach on organ, Grant Green on guitar, Bob Cranshaw on bass and Grady Tate on drums. Pianist Duke Pearson, while not appearing on the album, did produce half the songs (Byrd produced the other half) and served as arranger.

Miles Davis' recordings from the years of 1951-1954 are often overlooked for a number of reasons. Davis had a somewhat erratic lifestyle at the time, and these recordings do not feature the first 'classic' quintet. Even though Davis did not record nearly as often as in later years, what was recorded is quite outstanding.

"Sonny Rollins, Vol. 2" brought together some of the greatest players of the post-bop era. In addition to Rollins, it featured Art Blakey on drums, Horace Silver and Thelonious Monk on piano, Paul Chambers on bass, and J.J. Johnson on trombone. This classic record is a must-have for any jazz lover.

"The Cape Verdean Blues" followed Song for My Father as another album by Horace Silver that was inspired by his father, who hailed from the island nation of Cape Verde. The Cape Verdean Blues featured the added contribution of legendary bop trombonist J.J. Johson, whom Silver had wanted to work with for quite some time leading up to this album.

Organised jam sessions at New York's legendary Birdland Club were broadcast twice weekly during the late '40's and early '50's and a baker's dozen of tracks featuring the magnificent Miles Davis have been selected for this collection. The various pick-up line-ups included all the great jazz musicians of the era, and tenor sax genius Stan Getz can be heard here on several tracks beautifully complimenting Miles' wonderful trumpet excursions. This album has been early issued on CD under the titles "Miles Davis: The Birdland Sessions" (1994), "Miles Davis: Out Of The Blue" (1997), "Miles Davis featuring Stan Getz : Birdland Days" (1991), "Miles Davis, Stan Getz: Move" (2003).

Sonny Rollins, Vol. 2 brought together some of the greatest players of the post-bop era. In addition to Rollins, it featured Art Blakey on drums, Horace Silver and Thelonious Monk on piano, Paul Chambers on bass, and J.J. Johnson on trombone. This classic record is a must-have for any jazz lover.