Howlin' Wolf's first and second Chess albums are essential listening of the highest order. They were compiled - as were all early blues albums - from various single sessions (not necessarily a bad thing, either), and blues fans will probably debate endlessly about which of the two albums is the perfect introduction to his music. But this CD reissue renders all arguments moot, as both album appear on one disc, making this a true best buy. Wolf's debut opus – curiously tacked on here after his second album - features all of his early hits ("How Many More Years," "Moanin' at Midnight," "Smokestack Lightning," "Forty Four," "Evil," and "I Asked for Water [She Gave Me Gasoline]"), and is a pretty potent collection in its own right. But it is the follow-up (always referred to as "the rocking chair album" because of Don Bronstein's distinctive cover art) where the equally potent teaming of Willie Dixon and Wolf produced one Chicago blues classic…

John Lee Hooker developed a “talking blues” style that became his trademark. Though similar to the early Delta tradition, his metrically free approach and unique sound would make him a staple of Detroit blues. Often called the “The King of the Boogie”, Hooker's driving, rhythmic approach to guitar playing has become an integral part of the blues. His thunderous electric guitar sounded raw, while his basic technique was riveting. This quintessential collector’s edition includes two of Hooker’s finest albums: That’s My Story (1960), and House of the Blues (1959). These two masterpieces have been remastered and packaged together in this very special release. Contained here is the cream of the crop from Hooker's hit-making stretch during his most inspired years. Without a doubt, this is the material upon which John Lee Hooker's legend was built.

Sings Sweet Songs For Swingers is an absolutely radiant and impeccably executed vocal jazz studio album by the first lady of song, American vocal icon Ella Fitzgerald, recorded during her creative peak in 1959 and issued by the prestigious jazz label Verve Records under the catalog number MG VS-6072. Spanning a delightful 40-minute program, this definitive release perfectly showcases Ella's legendary rhythmic precision, unmatched scat sensibilities, and incomparably warm, joyful vocal delivery. For this incredible mid-tempo swinging session, Fitzgerald is paired with the lush, imaginative orchestral arrangements of master conductor Frank DeVol, alongside the brilliant, instantly recognizable muted trumpet obbligatos of jazz giant Harry "Sweets" Edison, whose playful horn lines wrap around Ella's voice in a masterclass of musical dialogue. Together, they breathe vibrant new life into twelve timeless standards from the Great American Songbook, opening with a suave interpretation of Sweet And Lovely and gliding through infectious, sophisticated versions of Let's Fall In Love and Makin' Whoopee. Deeper inside the tracklist, Ella delivers a beautifully atmospheric reading of Moonlight Serenade and a stunningly expressive, swinging take on Lullaby Of Broadway. Fully preserved with pristine acoustic engineering to capture the intricate woodwind textures, rich brass punch, and incredible vocal clarity of Norman Granz's original production, this timeless record is a mandatory cornerstone for vocal jazz purists, traditional pop collectors, and lovers of classic swing.

Guitarist Johnny Smith in a sweet, laidback trio setting - just the kind of mode that's perfect for his gentle sense of color and tone - a style he virtually invented for jazz guitar in the 50s! The album's one of his classics for the Roost label, and it's a masterpiece in chromatic hues - subtle, simple, but completely fantastic - at a level that makes Johnny Smith one of the true legends in jazz guitar from the 50s. Accompaniment is by George Roumanis on bass and Mousie Alexander on drums - but both players are extremely gentle, and leave most of the sound to Johnny - as it should be.

An incredible meeting of two vastly underrated alto talents! Phil Woods got plenty of opportunities to record as a leader in the 50s, but altoist Gene Quill was often buried in bigger groups - a fact that makes this album one of the few chances to really hear him shine! Woods and Quill work together beautifully throughout - playing boppishly, but also in a more relaxed groove - one that's a bit like Phil's excellent Warm Woods session for Epic from the same stretch, but perhaps a bit more upbeat overall. The twin-alto sound is really great - especially on the tunes that have them soaring together on the heads, then splitting off on solos with amazing dexterity and real dynamic range. Other players include Bob Corwin on piano, Sonny Dallas on bass, and Nick Stabulas on drums - and although the pair recorded an earlier session for RCA a few years before, this one's far superior!

The gentle genius of guitarist Johnny Smith - perfectly captured in this late nite trio session from the 50s! There's a lot more jazz here than you might guess from the "easy listening" title - and Johnny's working with drummer Charlie Mastropaolo and bassist George Roumanis, in a style that's very much in keeping with his other best Roost work at the time. Smith has this way on the strings that's like few other players of his time - a style of playing the guitar that's so gentle, so spacious, the notes come off the instrument almost by themselves - with a lightly ringing quality that's the best part of the unique Johnny Smith tone.

Ruth Brown (1957). Ruth Brown at her stinging, assertive, bawdy best, doing the sizzling, innuendo-laden R&B that helped make Atlantic the nation's prime independent during the early days of rock & roll. There's also plenty of equally fiery, hot musical accompaniment, with then-husband Willis Jackson sometimes featured on tenor sax.
Miss Rhythm (1959). Ruth Brown's second LP is a minor masterpiece, built around a handful of hit singles and B-sides from the prior year ("Book of Lies," "Just Too Much," "When I Get You Baby," "This Little Girl's Gone Rockin'," "Why Me") and containing a pair of current single sides, "Jack O' Diamonds" and "I Can't Hear a Word You Say." Brown is amazing in her range, from the upbeat, romantic "I Hope We Meet (On the Road Someday)" to the jaunty shouter "Why Me" - her timbre ranges from sweetly romantic to hard and raspy, and listening to the transformations…

A rare non-Blue Note late 50s session that features Hank Mobley and Lee Morgan - and a stone cooker that feels like some of the best Jazz Messengers dates of the time! There's a chance that the session was possibly cut "under duress", like a number of other jazz albums on Roulette during the period - but that doesn't stop it from being a full-on, open-fire groover - lots of long tracks done in perfect hardbop formation! In addition to Mobley's tenor and Morgan's trumpet, the combo also features Curtis Fuller on trombone, Billy Root on additional tenor, Ray Bryant on piano, Tommy Bryant on bass, and Specs Wright on drums.

This Collectables reissue combines two post-R&B-era Big Joe Turner Atlantic sides, Big Joe Is Here and Joe Turner Rides Again, originally released in 1959 and 1960, respectively. The focus here is on the jazzy blues side of Turner's career, closer to Kansas City jazz and traditional pop than his pioneering R&B hits. Alongside a few tracks penned by Turner, he tackles several standards, including "Time After Time," "Pennies From Heaven," "Until the Real Thing Comes Along," and "I Get the Blues When It Rains."

Abbey Lincoln's third of three Riverside albums directly precedes her more adventurous work with drummer (and then-husband) Max Roach. With fine backup from trumpeter Kenny Dorham, pianist Wynton Kelly, Les Spann (doubling on guitar and flute), bassist Sam Jones, and drummer Philly Joe Jones) on seven of the ten numbers, and by Roach's regular quintet at the time on the other three selections, Lincoln is quite emotional and distinctive during a particularly strong set. Highlights include the first vocal version ever of "Afro-Blue," "Come Sunday," Oscar Brown, Jr.'s "Brother, Where Are You," "Softly, As in a Morning Sunrise," "Long as You're Living," and Lincoln's own "Let Up." A very memorable set.

Art Blakey's Drums Around The Corner is an extraordinary, rhythm-heavy archival treasure recorded across two legendary sessions for Blue Note Records in November 1958 and March 1959, though not formally released until much later. The album serves as an ultimate masterclass in percussion, bringing together an unprecedented summit of elite jazz drummers, including the driving force of Blakey himself alongside Philly Joe Jones, Roy Haynes, and master conguero Ray Barretto. Supported by the iconic front line of trumpet prodigy Lee Morgan and soulful pianist Bobby Timmons, the music pulses with the raw, uncompromising energy that defined the peak era of hard bop. From an expansive fifteen-minute deconstruction of Charlie Parker's Moose the Mooche to the intense, polyrhythmic drum battles on Let's Take 16 Bars and Drums in the Rain, this record showcases jaw-dropping technical skill and deep acoustic groove. Anchored by the rock-solid bass work of Paul Chambers and Jymie Merritt, this historical release captures an unforgettable, thunderous moment in modern jazz history.

Everybody Digs Bill Evans was a landmark recording for the young pianist and sported a unique album cover, featuring written-out endorsements from Miles Davis, George Shearing, Ahmad Jamal, and Cannonball Adderley. At a time approximate to when Evans was performing with the famous Kind of Blue band of Davis, Adderley, and John Coltrane, and actually departing the band, Evans continued to play the trio music he was ultimately best known for. With the unmatched pair of former Miles Davis drummer Philly Joe Jones and bassist Sam Jones (no relation), Evans was emerging not only as an ultra-sensitive player, but as an interpreter of standards second to none. The drummer is quite toned down to match the dynamics of the session, while the ever-reliable bassist lays back even more than usual, but at the expense of his soul…

It might not be the frolic that the title implies, but that's a plus - because this a straight-up solid early album from Taylor - recorded in tight trio format, with that no-nonsense soulful approach that made him a star player from the start! The group features the great (and underrated) Earl May on bass and Kenny Dennis on drums - both of whom help Taylor work some simple magic that flowers wonderfully as the album moves on. There's a tight, sharp, in the pocket groove here that makes Taylor a key precursor for other piano talents to come in the 60s.

This is an excellent quartet LP that really showcases great trombonist J.J. Johnson. Accompanied by pianist Tommy Flanagan, bassist Paul Chambers and drummer Max Roach, Johnson alternates standards such as "Hello, Young Lovers" and "Gone with the Wind" with originals, including the two part "Blue Trombone," and shows listeners why he is still considered one of the greatest jazz trombonists of all time.

On paper, this unlikely pairing of American popular vocalist Rosemary Clooney (who nearly defined the 1950s as a stylist) and Cuban percussionist and bandleader Pérez Prado seemed to be a disaster in the making. The end result is quite the opposite. Recorded during two sessions in July and August of 1959, this is simply one of the loveliest albums in either artist's catalog. The music is lively and colorful but retains Clooney's smooth and mellow character, and Prado's trademark arrangements and experiments with percussion, texture, and harmony. Apparently, Clooney had some trouble with pronunciation initially, but was coached by her husband, Puerto Rican actor Jose Ferrer (who wrote the original album's liner notes) and became a quick study…