On Duke Ellington Piano Solos, the exceptionally elegant, knighted American jazz piano master Sir Roland Hanna steps completely unaccompanied into the studio to deliver a deeply reverent, sophisticated, and masterfully lyrical solo document. Released in 1991 by the distinguished classical and jazz audiophile label MusicMasters, this brilliant interpretive milestone features Hanna exploring the monumental compositional book of Duke Ellington and Billy Strayhorn. Spanning over 46 minutes of immaculate high-fidelity spatial design, the 11-track landscape operates with a relaxed, deeply expressive, and beautifully balanced kinetic energy. Hanna bridges the gap between classic Harlem stride stride traditions, rich European impressionist dynamics, and advanced post-bop harmonic extensions—firing off magnificent solo layouts like the opening reflective warmth of In My Solitude, a jaw-droppingly tender reading of Single Petal of a Rose, and a dazzlingly complex, percussive transformation of the timeless classic Caravan. Driven by his sparkling right-hand runs, immense technical velocity, and flawless touch, this pristine archive remains an indispensable masterpiece for serious solo piano purists and mainstream jazz collectors worldwide.

Bennie Wallace is a spectacularly expressive, historically monumental, and masterfully synchronized post-bop and mainstream acoustic studio masterpiece led by the legendary American tenor saxophone vanguard pioneer and tonal master Bennie Wallace, digitally preserved and released on compact disc in 1998 under the prestigious independent high-fidelity preservation imprint AudioQuest Music. Spanning nearly 54 minutes of breathtakingly intense, conceptually profound instrumental interactions across 9 definitive tracking alignments, this high-fidelity document serves as an absolute peak monument in late-1990s audiophile jazz archaeology. Renowned for his huge, robust tone, classic wide-interval leaps, and unique blend of Ben Webster-style breathiness with angular avant-garde phrasing, Wallace utilizes this pristine acoustic session to execute a fierce, forward-thinking sonic blueprint that breathes deep, vibrant life into classic standards and rare Duke Ellington textures.

In a Sentimental Mood: Mathis Sings Ellington is a profoundly elegant, sophisticated, and masterfully tailored vocal jazz masterpiece by the legendary American pop-traditional and ballad icon Johnny Mathis, released in 1990 by Columbia Records. Standing as a magnificent, high-fidelity tribute album dedicated entirely to the timeless songbook of Duke Ellington and Billy Strayhorn, this studio document captures Mathis completely immersing his velvet-toned, operatic phrasing into a pristine late-night cool jazz setting. Spanning nearly 55 minutes across 18 tracks, the album expertly juxtaposes expansive, sweeping orchestral pop frameworks with intimate, small-group acoustic swing movements. Mathis delivers a masterclass in emotional restraint and structural grace, navigating complex modal chord shifts and deep melodic contours with effortless ease. The expansive tracklist is beautifully balanced, featuring exquisite vocal interpretations of Strayhorn's demanding Lush Life, the soaring title track In a Sentimental Mood, and the deeply spiritual Come Sunday, all seamlessly interwoven with short, high-velocity instrumental interludes of timeless themes like Caravan, Perdido, and Satin Doll. Exceptionally preserved in pristine lossless audio quality, this rare archival document stands as an absolute mandatory cornerstone and a prized collector's treasure for global purists of modern traditional pop vocal history, big band lore, and sophisticated mid-century cool jazz songbooks.

The Soul of Ben Webster is a spectacularly expansive, deeply soulful, and historically monumental mainstream jazz anthology masterfully documenting the peak late-1950s studio recordings of the legendary American tenor saxophonist Ben "The Brute" Webster, beautifully compiled on double-compact disc in 1995 by the definitive Verve Records. Spanning over two and a half hours across 26 tracks, this high-fidelity archive primarily brings together the complete, legendary 1958 Verve sessions including the entirety of the seminal album "The Soul of Ben Webster", alongside brilliant late-50s companion recordings featuring fellow tenor icon Harold Ashby. Renowned for his instantly recognizable, breathy ballad warmth and his fiercely stomping, blues-drenched swing velocity, Webster commands the spotlight with unparalleled emotional authority. He is flanked by an absolute powerhouse vanguard of mainstream jazz royalty, featuring the elegant trumpet stylings of Art Farmer, the subtle guitar work of Mundell Lowe, and a flawless, telepathic rhythm engine helmed by pianist Jimmy Jones, bass legend Milt Hinton, and drummer Dave Bailey. The tracklist is an absolute treasure trove of classic acoustic jazz history, showcasing explosive original swingers like Fajista, Charlotte's Piccolo, and Blues-A-Plenty, alongside definitive, breathtakingly intimate readings of timeless standards including Chelsea Bridge, Moonlight In Vermont, and Billy Strayhorn's Satin Doll. Expanded with rare, previously unissued alternate takes of Blues For The Blues and Reelin' And Rockin', and exceptionally preserved in pristine dual-format lossless and high-bitrate audio with full booklet artwork scans, this definitive compilation stands as a mandatory cornerstone and a prized collector's holy grail for global purists of classic tenor saxophone history, mid-century studio swing, and historic Verve catalog lore.

Billy Strayhorn's music has been an essential part of DiMartin's repertoire since the beginning of his forty-five year professional music career. He recalls, "My first encounter with Strayhorn's music was through an older cousin who gave me a recording of Chet Baker and Russ Freeman's version of Lush Life and requested that I learn the tune." DiMartino was just 15 years old at the time (ironically, Strayhorn's age when he wrote the piece0> John has been entranced with the composer's music ever since.

Although not initially released until 1992, 25 years after composer Billy Strayhorn's death, this is his definitive CD. Strayhorn is heard singing "Lush Life" while backed by the Duke Ellington Orchestra in 1964 (his voice is not strong but his phrasing is quite sincere), jamming on piano with flügelhornist Clark Terry and Bob Wilbur (on clarinet and soprano) in a quintet, backing singer Ozzie Bailey, and taking a pair of piano solos ("Love Came" and "Baby Clementine"). These are very valuable and intriguing recordings, shedding some new light on a nearly invisible genius.

This is a little-known and rather melancholy set, virtually Billy Strayhorn's only recording away from the world of Duke Ellington. The focus is totally on Strayhorn's piano throughout his interpretations of ten of his compositions (including "Lush Life," "Take the 'A' Train," and "Something to Live For"). Three selections have the Paris Blue Notes adding sparse wordless vocals, two other numbers add some quiet playing by the Paris String Quartet, and bassist Michel Goudret is on five of the ten selections (including one apiece with the strings and the voices). "Strange Feeling" and "Chelsea Bridge" are taken as unaccompanied piano solos. Of the ten songs, only "Just A-Sittin' and A-Rockin'" hints at happiness; otherwise, Strayhorn's melodic and concise playing is quite somber, peaceful in volume but filled with inner tension.

This exciting CD has 20 diverse performances that were originally produced by Leonard Feather for the Victor label during 1946-47. The first eight selections feature various versions of Esquire's All-American Award Winners and have some unique combinations of musicians. "Long Long Journey" was the first record to match together Duke Ellington (who verbally introduces the song) and Louis Armstrong, and on "Snafu" Armstrong takes a surprisingly modern solo that hints at bebop. Trumpeter Charlie Shavers creates a remarkable improvisation on "The One That Got Away," ltoist Johnny Hodges plays beautifully on "Gone with the Wind" and other key players include tenor saxophonist Don Byas, trumpeter Buck Clayton, trombonist J.J. Johnson and tenor saxophonist Coleman Hawkins. In addition, there are selections featuring trombonist Jack Teagarden, the 52nd Street All-Stars (with Shavers, Hawkins and tenorman Allan Eager), the tenor of Lucky Thompson, trumpeter Neal Hefti, altoist Benny Carter, singer Mildred Bailey and solo piano records by Art Tatum and Erroll Garner. The mid-to-late '40s were a particularly rich period for jazz and this highly recommended CD is filled with gems.