Hungarian guitarist Elek Bacisk is a cousin of Django Reinhardt, and has continued his tradition of blending swing and gypsy elements into a coherent, expressive jazz mode. Bacisk initially studied classical violin and played gypsy songs in Budapest, then switched to jazz guitar. As a teen, he recorded in a band with alto saxophonist Geza Szabo and trumpeter Jozsef Quitter, then later toured Europe with Mihaly Tabanyi's band. Bacisk moved to Paris in 1959, and through the early and mid-'60s recorded and played with visiting American musicians, among them Art Simmons, Quentin Jackson, Lou Bennett and Dizzy Gillespie. He also did sessions heading his own bands. Bacsik came to America in 1966, and worked from 1967-1974 with Teresa Brewer before cutting his own sessions. He appeared at the 1974 Newport Jazz Festival and 1984 Olympic Games Jazz Festival in Los Angeles.

This CD brings back the second of two Riverside albums cut by singer Billie Poole. Other than a single from a few years earlier, the two sets were Poole's entire recording legacy. Poole was an expressive singer who felt most comfortable on blues-oriented material. For this date, she was assisted by an unbeatable rhythm section (guitarist Kenny Burrell, pianist Junior Mance, bassist Bob Cranshaw, and drummer Mickey Roker) and performed mostly vintage material, with a few more recent songs added for variety. Poole sounds fine on such tunes as "Confessin' the Blues," "Stormy Weather," "Alone Together," and even "God Bless the Child."

This is the second volume that document the Eric Dolphy/Booker Little quintet's playing at the Five Spot. It features a group made up of pianist Mal Waldron, bassist Richard Davis, and drummer Ed Blackwell really stretching out during long versions of Little's "Aggression" and the standard "Like Someone in Love." Dolphy's playing - whether on alto, bass clarinet, or flute - always defied categorization, while Little (who passed away less than three months later) was the first new voice on the trumpet to emerge after Clifford Brown's death in 1956. An excellent set that records what may have been Dolphy's finest group ever, as well as one of that era's best working bands.

The classic 1963 album Duke Ellington & John Coltrane showcased the rising jazz saxophone innovator performing alongside the long-established piano institution. While the pairing might have portended a dynamic clash of the musical generations, instead we got a casual, respectful, and musically generous meeting of like-minded souls. Similarly, while one might have assumed that Ellington would use his sidemen, instead producer Bob Thiele (who also produced similar albums for Ellington including pairings with Louis Armstrong and Coleman Hawkins) chose to bring in Coltrane's own outfit for the proceedings. Consequently, the duo is backed here at various times by bassist Jimmy Garrison and drummer Elvin Jones, as well as alternates bassist Aaron Bell and drummer Sam Woodyard…

This 1963 date is titled for Dexter Gordon's living in self-imposed Parisian exile and recording there with two other exptriates and a French native. Along with Gordon, pianist Bud Powell and Kenny "Klook" Clarke were living in the City of Lights and were joined by the brilliant French bassman Pierre Michelot. This is a freewheeling bop date with the band working out on such categoric standards as "Scrapple from the Apple," and "A Night in Tunisia." In addition, American vernacular tunes such as "Willow Weep for Me" and "Stairway to the Stars" are included. Gordon is at the very top of his game here. His playing is crisp, tight, and full of playful fury. Powell, who at this stage of his life was almost continually plagued by personal problems, never sounded better than he does in this session…

Julie (1957). Julie London made the folks at the Liberty label rich with more than 25 albums, exclusive of compilations, cut over a period of 1955 to 1969. Usually put into a torch song setting, this release allows London to shed that garment and become jazzy. The reason, of course, is the presence of the invaluable Jimmy Rowles, who did the charts, played piano, and led an orchestra of top-flight but unidentified musicians. Unidentified or not, that could well be Don Fagerquist's muted trumpet on "Midnight Sun" and other cuts and either Ted Nash or Bob Cooper on tenor on "Somebody Loves Me." That the producer is Bobby Troup also helped to assure that this session would be a swinging affair. The arrangements let London's vocals take on a different demeanor. Instead of being sultry, she becomes dazzling and sparkling…

This obscure LP finds Sonny Stitt sticking to tenor and playing a typical set filled with blues, standards and riff-filled originals. Organist Charles Kynard made his recording debut during this session, guitarist Ray Crawford and drummer Doug Sides are strong assets and the two versions of the emotional title cut are highpoints.

This set documents a historic occasion. Although Coleman Hawkins had been an admirer of Duke Ellington's music for at least 35 years at this point and Ellington had suggested they record together at least 20 years prior to their actual meeting in 1962, this was their first (and only) meeting on record. Although it would have been preferable to hear the great tenor performing with the full orchestra, his meeting with Ellington and an all-star group taken out of the big band does feature such greats as Ray Nance on cornet and violin, trombonist Lawrence Brown, altoist Johnny Hodges, and baritonist Harry Carney. High points include an exuberant "The Jeep Is Jumpin'," an interesting remake of "Mood Indigo," and a few new Ellington pieces. This delightful music is recommended in one form or another.

Two of pianist Erroll Garner's albums for his Octave label have been reissued on full on this single CD from Telarc. Backed by bassist Eddie Calhoun and drummer Kelly Martin, Garner is heard stretching out in the studios and playing in concert at the 1962 Seattle World's Fair. Among the most consistent of jazzmen, Garner typically romps through a variety of standards plus his own "Misty," "Dreamstreet," "Mambo Gotham" and a medley of songs from the play Oklahoma. Other highlights of the spirited set include "Just One of Those Things," "Blue Lou," "The Lady Is a Tramp," "The Way You Look Tonight" and "Mack the Knife."

Two former LPs were reissued in full on this single CD. The earlier date features pianist Erroll Garner in typically brilliant and witty form with his 1961 trio, which also included bassist Eddie Calhoun and drummer Kelly Martin. Whether it be a sly "My Silent Love," "All of Me," or a joyful "Back In Your Own Backyard," Garner is heard throughout in his prime. The later date is a bit more unusual, for the pianist improvises on ten themes that would be used in the Paul Newman film A New Kind of Love. Joined by a big band and string orchestra conducted by Leith Stevens, Garner, who never learned to read or write music, contributed several original themes to the score (a few of which are quite catchy) in addition to jamming on such tunes as "You Brought a New Kind of Love to Me," "Louise," and "Mimi"…

In the late 1950s, the emergence of Playboy Magazine and the appearance of "nudie cutie" movies like The Immoral Mr. Teas had made burlesque seem passé in the eyes of many, and by 1962, the art of the striptease was far enough out of fashion to become a nostalgia item. In 1959, Gypsy, the musical about the life of burlesque star Gypsy Rose Lee, was a hit on Broadway, and two years later, Ann Corio, who had been a well-known "peeler" in the '40s and '50s, launched her stage revue This Was Burlesque, which re-created the baggy-pants comedy and sexy dance numbers that were burlesque's bread and butter. The show jump-started Corio's career and was in production in New York or on the road until the early '90s; inspired by the success of the show, Roulette Records (who had released This Was Burlesque's original cast recording) teamed with Corio to produce the 1962 album How to Strip For Your Husband…

After a lengthy and successful run on RCA from 1955-1962, Lena Horne cut a few albums for the small Charter label. Picking up on the period craze for all things Latin - mambo, bossa nova, or otherwise - Horne recorded this 1963 collection of swinging, Latinized standards for the company. With husband and bandleader Lennie Hayton directing a crack group through some fine Shorty Rogers arrangements, Horne shows off her powerful and supple voice on both obscure fare ("Cuckoo in the Clock") and perennial classics from Tin Pan Alley ("My Blue Heaven"). And while some might balk at the Mancini-like lounge touches informing highlights like the fiercely delivered "From This Moment On" and a bravura reading of "Night and Day," one must ask what would be better to temper the driving rhythms, frenetic horn charts, and Horne's theatrical phrasing…