"In a Latin Bag" is an album by American jazz vibraphonist Cal Tjader featuring performances recorded in 1961 and released on the Verve label. AllMusic review stating "Cal Tjader recorded prolifically for Verve during the first half of the 1960s, though this is one of his lesser-known dates … it is well worth snapping up if found".

Callen Radcliffe Tjader, Jr. was an American Latin jazz musician, known as the most successful non-Latino Latin musician. He explored other jazz idioms, even as he continued to perform the music of Cuba, the Caribbean, and Latin America for the rest of his life. "Soña Libré" is his 1963 album. Billboard magazine reviewed the album in their May 25, 1963 issue and wrote that on the album Tjader has "a solid collection of tracks that have swing and a quiet insistent sound".

The Count Meets the Duke is an album by American pianists, composers and bandleaders Duke Ellington and Count Basie with their combined Orchestras recorded and released on the Columbia label in 1961. On stereo releases of the album, Basie's band is featured on the left channel and Ellington's on the right.

"Two of a Mind" is an album recorded by American jazz saxophonists Paul Desmond and Gerry Mulligan featuring performances recorded in 1962 which were released on the RCA Victor label. This is an album of great melodic interaction between Desmond and Mulligan. It's too bad that they did not perform more often with each other. But what the did give us, will have to do.

In the early days of Stereo, record companies were always looking for ways to show off the capabilities of this new format. One musical genre that met with great success was instrumental pop, and especially percussive releases…

Featured on drums is Joe Morello of Dave Brubeck fame, and top percussionists Bobby Christian and Gary Burton with some very tasty vibes work. Robert Wessberg is outstanding on tubaphone (a soft marimba-like instrument). Wessberg, incidentally, is the Schory band's number one percussionist on tour and a master of all percussion instruments. The orchestra is sizable with full brass and woodwind sections and everybody doubling like mad.

"Indigos" is a 1958 jazz album by Duke Ellington and His Orchestra. This album stands as an outstanding example of the Ellington Orchestra playing Jazz, features standards such as "Mood Indigo", "Autumn Leaves", "Prelude To a Kiss" and more.

As intended, this album presents alto sax specialist Paul Desmond as never featured before, with the backing of a string orchestra. The record, filled with such beautiful jazz standards as "My Funny Valentine," "I've Got You Under My Skin," and "Body and Soul," is very rich in texture, yet subtle and mellow overall in mood. It's unyielding purpose: to soothe the souls of its listeners. Desmond's style and tone shine with an alluring quality, and the record is filled with melodies that don't fail to stimulate the sophisticated jazz listener.

The pieces on this recording are performed on a wide variety of instruments. There is a piece for solo harp (Whirlwind), pieces for cello and harp; cello and accordian; two guitars; cello, harp, accordian and piano; through those including the entire ensemble of cello, harp, accordian, two guitars, piano, marimba, string bass, and percussion. Except as noted, the compositions were arranged or transcribed by Richard Amoroso to take advantage of the many instrumental colors available within the group.

Since its original release, Jochum's performance has consistently been a prime recommendation for this much-recorded piece, listening to it again in the superbly remastered sound, one can easily hear why. He pays great attention to detail - particularly with regard to tempo and articulation - yet the performance as a whole has a tremendous cogent sweep and the choruses have terrifiс power. The more reflective sections are not neglected, however, and movements such as "Stetit Puella", with Janowitz sounding alluring and fey, have surely never been more sensitively handled. Stolze is ideal as the roasted swan and Fischer-Dieskau encompasses the very varied requirements of the baritone's music with ease. In spite of the presence of more than 30 rivals in the catalogue, this distinguished performance, authorized by the composer and now sounding better than ever, easily retains its place at the head of the queue.

The albums featuring Louis Armstrong's collaborations with the Dukes of Dixieland were among the first stereo recordings to fully capture Louis' magic sound. He played wonderful trumpet and vocal solos on classic songs that weren't part of his usual repertoire, such as 'Dixie', 'New Orleans' and 'Sweet Georgia Brown', which he had never previously recorded.

The Mahler Seventh comes not from a commercial recording but from someone connected with the Concertgebouw Orchestra. Made in 1983, it is of excellent fidelity but also suffers somewhat from the stridency problem. Possessed of the two mysterious “Night Music” movements with the devilish scherzo in between, plus a gangbusters rousing conclusion in the key of C, the Seventh has been my personal favorite Mahler symphony for some years. The Dutch audience is very quiet in spite of this being an exciting live recording.

Cootie Williams, one of the finest trumpeters of the 1930s, expanded upon the role originally formed by Bubber Miley with Duke Ellington's Orchestra. Renowned for his work with the plunger mute, Cootie was also a fine soloist when playing open. This sessions from 1958 shows that Williams' broad style was still mightily intact some 30 years after joining the Ellington fold.

Founded in Munich in 1949 under Eugen Jochum, the Bavarian Radio Symphony Orchestra quickly won an international reputation, collaborating with leading conductors and contemporary composers, the latter notably under the Musica Viva programme. Jochum was succeeded by Rafael Kubelík, who held the position of principal conductor until 1979, to be followed by Colin Davis until 1992, and Lorin Maazel. In 2003 Mariss Jansons became principal conductor. Under successive conductors the repertoire of the orchestra has been widened, as well as under many other distinguished guest conductors. In addition to its broadcasts the orchestra gives regular concerts in Munich and elsewhere, and has participated in numerous festivals and recordings.