Herb Ellis is known primarily for playing with small ensembles, so this recording as part of an octet is a departure for the great guitarist. This "all-star" combo includes trumpeter Roy Eldridge in a sublimated role, while tenor saxophonist Buddy Tate is featured a bit more, and pianist Ray Bryant solidifies the nucleus of a very talented band of old pros and unsung heroes. Trumpeter Frank Assunto may not be a common garden-variety name to most, but he asserts himself quite well during this session. Twin bass underpinnings from Israel Crosby and Jimmy Rowser add heft to the rhythm section, while always reliable drummer Gus Johnson shows his mettle as a solidly swinging timekeeper. The fare is split between standards, originals, and favorites, including Duke Ellington's rousing "It Don't Mean a Thing" with the jamming Eldridge leading the charge, and "Things Ain't What They Used to Be" as everyone joins in and Assunto takes a fine, distinctive solo…

The Jazztet had been in existence for two years when they recorded what would be their final LPs, Here and Now and Another Git Together. The personnel, other than the two co-leaders, flugelhornist Art Farmer and tenor-saxophonist Benny Golson, had completely changed since 1960 but the group sound was the same. The 1962 version of the Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis, and drummer Roy McCurdy. It is remarkable to think that this talent-filled group wasn't, for some reason, snapped up to record even more albums together. Highlights of their excellent out-of-print LP include Ray Bryant's "Tonk," "Whisper Not," "Just in Time," and Thelonious Monk's "Ruby My Dear." A classic if short-lived hard bop group.

During his extended "stay" in Europe circa the late '50s and early '60s, Chet Baker produced half a dozen albums for the Riverside Records subsidiary label Jazzland. On Chet Baker in Milan – the first of his overseas sides – Baker revisits the familiar stomping grounds of West Coast cool, even though he is the only American in the band. The basic quartet includes Chet Baker (trumpet), Renato Sellani (piano), Franco Serri (bass), and Gene Victory (drums). However, on a majority of the cuts, that unit is upgraded to a sextet with sax players Glauco Masetti (alto) and Gianno Basso (tenor). According to Peter Drew's brief liner notes essay, these Italian players were found by a local record label and arrangements were essentially retrofitted to suit Baker.

This collection compiles, for the first time ever on a single set, all existing studio recordings of Chet Baker singing from 1953 (his earliest vocal recordings) until 1962.
The music on this CD puts Chet Baker on the scene not just as a brilliant trumpeter, but also as a talented singer. These songs were a revelation at the time and won Baker new fame and a new audience, which was less familiar with jazz than with pop music. The reasons are quite clear: Chet's voice is tender and beautiful, and at the same time his phrasing always swings and surprises. Among the contents of this set are the complete original albums Chet Baker Sings and Chet Baker Sings It Could Happen to You, plus all other existing studio vocal sides within that period.

Acclaimed pianist and composer Isaiah J. Thompson offers jazz lovers a spirit-lifting gift this holiday season, announcing the release of A Guaraldi Holiday. A tribute to the eclectic music of Vince Guaraldi – work which served as a both an introduction to jazz, and as a childhood sound track for generations of music lovers, Thompson included – the invigorating set was co-produced by Thompson with John Pizzarelli and features 12 fresh tracks, each one an exercise in nostalgic expressionism.

We are proud to announce, for the first time ever, the release of the complete soundtrack to "A Charlie Brown Thanksgiving." Just in time for the 50th anniversary of the celebrated animated holiday television special, written and created by Charles Schulz, directed by Bill Melendez and Phil Roman and produced by Melendez and Lee Mendelson, this is the complete Vince Guaraldi score along with never-before-heard bonus material.

This Is Jazz, Vol. 2 isn't an ideal overview of Chet Baker's seminal Columbia recordings, but it isn't bad, either. Many of the featured 16 songs are among Baker's very best, giving novices a good idea of the sound, style, and depth of his music, even if it doesn't provide an ideal context. Nevertheless, This Is Jazz doesn't intend to provide context, which will undoubtedly frustrate collectors and jazz purists. However, it does succeed in offering an affordable sampler of his classic Columbia recordings for curious listeners – and it succeeds quite well in that regard.

The slightly unusual date Two Jims and a Zoot features tenor saxophonist Zoot Sims interacting with two guitarists (Jimmy Raney and Jim Hall) while given subtle support by bassist Steve Swallow and drummer Osie Johnson. Although the eight selections (none of which caught on as standards) had all been written recently and sometimes display the influence of bossa nova, the quiet performances could pass for 1954 rather than 1964. The cool-toned improvisations and boppish playing have a timeless quality about them although for the time period aspects of this music already sounded a bit old-fashioned.

Recorded in stereo by Radio France at La Esplanade de La Défense (July 17, 1983) and Le Petit Opportun (February 7, 1984). Both concerts are distinguished by the dazzling playing of the virtuosic pianist Michel Graillier, who performed regularly with Baker’s combos from 1977 until Baker’s death in 1988.

Blue Room: The 1979 VARA Studio Sessions in Holland features two previously unissued lost studio sessions of trumpet/vocal icon Chet Baker captured in glorious stereo at the legendary VARA studio 2 in Hilversum, the Netherlands for the KRO radio program Nine O’Clock Jazz. The April 10, 1979 session features pianist Phil Markowitz, bassist Jean-Louis Rassinfosse, and drummer Charles Rice; and the November 9th session features pianist Frans Elsen, bassist Victor Kaihatu, and drummer Eric Ineke. Both sessions were originally produced by Edwin Rutten and Lex Lammen for KRO-NCRV, and are now being produced for release officially for the first time by “jazz detective” Zev Feldman and Frank Jochemsen. Transferred from the original KRO radio tape reels.

Issued in 1959, Howard Roberts' Good Pickin's was his second album for Verve as a leader. It is as straight-up a blowing date as you're likely to find, though it has wonderful harmonic invention thanks to the two arrangers on the date - Bill Holman, who also plays tenor, and Marty Paich. The rest of the date is rounded out by pianist Pete Jolly, bassist Red Mitchell, and drummer Stan Levey. The tunes range from standards like "All the Things You Are" and "Between the Devil and the Deep Blue Sea" to straight-up bebop in Charlie Parker's "Relaxin' at Camarillo" and George Wallington's "Godchild." The lone original on the set, which closes the album, is Roberts' "Terpsichore." It is also the longest on the platter…