For their fourth album, Supersax continued its practice of recreating recorded Charlie Parker solos harmonized for a full saxophone section. What was different this time around was that with one exception, all of the solos were taken from concerts rather than studio dates. The result is that the ensembles sound fresher (since Bird's live improvisations are generally not that well-known) and longer. Trumpeters Blue Mitchell and Conte Candoli, trombonist Frank Rosolino and pianist Lou Levy get solo space, and highlights include "Shaw Nuff", "Drifting on a Reed", "Dizzy Atmosphere" and a six-minute rendition of "Night In Tunisia".

Recorded in 1981 and produced by Concord founder Carl Jefferson, this is another jewel of an album from the Concord Jazz catalog. A classic live recording from the Keystone Korner jazz club in San Francisco and with great sound, this is vintage late Getz and includes some of his best performances of standards like "Easy Living," "Sweet Lorraine," "Old Devil Moon," "I'm Old Fashioned" and the title track. Now out of print on regualar CD, this SACD reissue will only enhance what is already an excellent Getz title.

This early '60s studio session captures Ella Fitzgerald moving toward the smaller, more pointedly jazz-inflected ensembles that would shape her career in her final decades. The intimate setting, superb musicianship and stellar recording make it a favorite among jazz-oriented audiophiles. Not to be missed!

This album came out of a series of three recording sessions by Sonny Stitt toward the end of 1959, and sees the jazz saxophonist delve into the world of blues.The album blends powerful original songs written by Stitt with a couple of standards that get new life breathed into them. Stitt plays alto sax exclusively on this release, which led to unfair comparisons at the time to Charlie Parker. This album has been out-of-print and almost impossible to find for many years, until now.

Supersax is known for their miraculous renderings of Charlie Parker solos. They’re still flyin’ high with two ‘Bird’ pieces - his Blues For Alice once again denotes Parker’s mastery of the blues. And then there’s Parker’s Mood, a slow blues that contains one of Bird’s most venerated solos, beautifully reproduced by the five saxes. Here the group expands, taking on three compositions and solos from the bebop giant, pianist Bud Powell…

This album came out of a series of three recording sessions by Sonny Stitt toward the end of 1959, and sees the jazz saxophonist delve into the world of blues.The album blends powerful original songs written by Stitt with a couple of standards that get new life breathed into them. Stitt plays alto sax exclusively on this release, which led to unfair comparisons at the time to Charlie Parker. This album has been out-of-print and almost impossible to find for many years, until now.

Released in 1961, this volume in Ella Fitzgerald's essential Songbook series spotlights composer Harold Arlen and features such beloved classics as "Over The Rainbow", "Ac-Cent-Tchu-Ate The Positive" and "That Old Black Magic", arranged and conducted by Billy May and produced by Norman Granz.

This album came out of a series of three recording sessions by Sonny Stitt toward the end of 1959, and sees the jazz saxophonist delve into the world of blues.The album blends powerful original songs written by Stitt with a couple of standards that get new life breathed into them. Stitt plays alto sax exclusively on this release, which led to unfair comparisons at the time to Charlie Parker. This album has been out-of-print and almost impossible to find for many years, until now.

"Getz Meets Mulligan" (also released as "Gerry Mulligan Meets Stan Getz" and "Getz Meets Mulligan in Hi-Fi") is an album by American jazz saxophonists Gerry Mulligan and Stan Getz featuring performances recorded in 1957 and released on the Verve label.

The superb November 1960 session recorded by the Ben Webster-Johnny Hodges sextet in studio conditions at the Jazz Cellar, in San Francisco (without an audience). It is presented here in its complete form for the first time ever. These recordings are exceptional in that no other date exists in their collaborative discography featuring them as the only horns. The two great saxophonists were the only horn players heard at the session. They were backed by a rhythm section of piano, guitar, bass and drums. As bonus, to this new DSD release has added a complete (and very rare) octet session featuring Johnny Hodges and His Orchestra from August 27, 1964.

This early '60s studio session captures Ella Fitzgerald moving toward the smaller, more pointedly jazz-inflected ensembles that would shape her career in her final decades. The intimate setting, superb musicianship and stellar recording make it a favorite among jazz-oriented audiophiles. Not to be missed!

This 1959 six disc set from Ella Fitzgerald is the largest and most ambitious in her celebrated Song Book series, consisting of her interpretations of 59 Gershwin tunes, including her Grammy-winning version of But Not For Me. The album also marks Fitzgerald's first collaboration with arranger Nelson Riddle, a partnership that would yield further recordings in the 1960s.

Originally released on 10-inch vinyl in 1955 under the title "Conte Candoli", this reissue from West Coast jazz trumpeter Conte Candoli shows a strong Miles Davis influence. The album is also notable for the performances of Candoli's session musicians, specifically tenor sax player Bill Holman.