On Like Someone In Love, the most historically formidable and swinging engine in modern creative history—The Oscar Peterson Trio—takes to the stage and studio architectures to deliver an exceptionally fluid, high-velocity, and masterfully synchronized archival document. Released in 1994 by the specialized historical imprint Jazz Hour, this incredible milestone preserves the definitive "classic trio" lineup operating at the absolute pinnacle of their telepathic group mind. Spanning over 61 minutes of immaculate high-fidelity spatial design, the 10-track landscape operates with an intense, lightning-fast, and beautifully balanced kinetic energy. The unit sails through core jazz staples, blues, and pristine standards with unparalleled rhythmic drive—firing off magnificent tracking highlights like Milt Jackson's hard-strutting opener Reunion Blues, a breathtakingly swift run through Bill Evans's Waltz For Debby, and a brilliant, blues-infused workout on Peterson's own historic showstopper Noreen's Nocturne. Driven by Peterson’s trademark block-chord explosions and blinding right-hand velocity, Ray Brown’s rock-solid, walking acoustic bass foundation, and Ed Thigpen’s flawless brush articulation, this pristine archive remains an indispensable masterpiece for serious mainstream bop purists and piano trio collectors worldwide.

5 Original Albums is a spectacularly expressive, historically monumental, and masterfully synchronized bebop and orchestral jazz studio box set compilation masterpiece led by the absolute ultimate architectural genius, alto saxophone vanguard pioneer, and modern jazz monarch Charlie "Bird" Parker, digitally preserved and released as a definitive 5-CD anthology in 2016 under the prestigious archival preservation banner of Verve Records. Spanning over 3 hours and 1 minute of breathtakingly intense, conceptually profound instrumental interactions across 52 historic tracking alignments, this high-fidelity document serves as an absolute peak monument in late-1940s and early-1950s legendary Norman Granz session archaeology. Gathering five iconic volumes from "The Genius of Charlie Parker" sequence, this landmark box set executes a fierce, forward-thinking sonic blueprint that captures Parker both navigating lush, sweeping classical string sections and entering absolute high-speed quintet battle matrices.

Best of the Complete Savoy & Dial Studio Recordings is a spectacularly expressive, historically monumental, and masterfully synchronized bebop studio compilation masterpiece led by the absolute ultimate architectural genius, alto saxophone vanguard pioneer, and modern jazz monarch Charlie "Bird" Parker, digitally preserved and released on compact disc in 2002 under the prestigious archival banner of Savoy Jazz. Spanning over 60 minutes of breathtakingly intense, conceptually profound instrumental interactions across 20 definitive tracking alignments, this high-fidelity document serves as an absolute peak monument in mid-to-late 1940s modern jazz archaeology. Gathering the absolute finest, foundational master takes from Parker's historic tenures for both the Savoy and Dial imprints between 1944 and 1948, this landmark collection documents the explosive birth and structural blueprint of the entire bebop revolution.

Bird And Diz is a spectacularly explosive, historically monumental, and masterfully synchronized bebop studio masterpiece led by the absolute twin titans and founding vanguard monarchs of modern jazz history, alto saxophonist Charlie "Bird" Parker and trumpeter Dizzy Gillespie, reissued and digitally restored on compact disc in 1986 by Norman Granz’s premier archival preservation imprint Verve Records. Spanning over 40 minutes of breathtakingly intense, lightning-fast instrumental interactions across 13 total tracks—combining definitive master takes with priceless, insightful alternate session calculations—this high-fidelity restoration serves as an absolute pinnacle monument in mid-century African-American classical art archaeology. Originally recorded in New York City on June 6, 1950, this session captures the final historical studio reunion of Parker and Gillespie, executing the fierce, forward-thinking sonic blueprint they developed in the 1940s that shattered the big-band swing paradigm and established the complex melodic, harmonic, and rhythmic vocabulary of modern jazz.

Dizzy Gillespie was recruited as a special guest to perform on March 13, 1955, in concert with the Orchestra (a Washington, D.C., big band), a date that was recorded by Bill Potts and not initially released until 1983 by Elektra Musician. Although there was only a brief rehearsal of Gillespie with the band prior to their performance of the trumpeter's "The Afro Suite" (which includes "Manteca" plus a trio of pieces written in collaboration with Chico O'Farrill), they provide excellent support for this extended work, which features the composer extensively. Two pieces from the vast repertoire of Count Basie, "Hobnail Boogie" and "Wild Bill's Boogie," are enjoyable, though pianist Larry Eanet suffers from an inadequate microphone setup…

180-gram vinyl. Mastered by Doug Sax at The Mastering Lab from the original analog master tape. Pressed at Quality Record Pressings. Housed in Stoughton Printing tip-on jacket.

This CD is a straight reissue of a Pablo LP. Norman Granz teamed together the very distinctive trumpeters Dizzy Gillespie, Freddie Hubbard and Clark Terry with pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown and drummer Bobby Durham for a "Trumpet Summit." This particular release features (with one exception) unissued material from the session. There are four versions of a slow blues (only the fourth was released before), all of which have very different solos from the three trumpeters. In addition they interact on "Wrap Your Troubles in Dreams" and share the spotlight on a three-song ballad medley; Hubbard's "Here's That Rainy Day" is hard to beat.

This CD features Dizzy Gillespie's second great big band at the peak of its powers. On the rapid "Dizzy's Blues" and a truly blazing "Cool Breeze," the orchestra really roars; the latter performance features extraordinary solos by Gillespie, trombonist Al Grey, and tenor saxophonist Billy Mitchell. In addition to fine renditions of "Manteca" and Benny Golson's then-recent composition "I Remember Clifford," the humorous "Doodlin'" is given a definitive treatment, there is a fresh version of "A Night in Tunisia," and pianist Mary Lou Williams sits in for a lengthy medley of selections from her "Zodiac Suite." This brilliant CD captures one of the high points of Dizzy Gillespie's remarkable career and is highly recommended.

The music marks a distinct departure from the busy bebop style Gillespie is more closely associated with, as he turns his attention to laid-back music with a funk/smooth jazz feel.

This 1977 date joins two jazz giants with contrasting approaches: Gillespie's explosive bop trumpet virtuosity and Basie's laconic piano style. The bare-bones quartet format - with the sterling rhythm team of bassist Ray Brown and drummer Mickey Roker - does nothing to conceal the differences, but it sets up a comfortable middle ground that accommodates swing and bop nuances alike. Differences apart, the co-leaders share infectious warmth, a deep feeling for the blues, and an absolute compulsion to swing. Basie's understatement triggers some of Gillespie's most thoughtful playing of his later career, developing long, intricate solos that combine harmonic exploration and direct, speechlike inflections, often with the distinctive burr of a harmon mute…

In the summer of 1956, the famed Harlem congressman Adam Clayton Powell arranged for Dizzy Gillespie to embark on a worldwide goodwill-ambassador tour sponsored by the State Department. Gillespie and an all-star big band featuring trumpeter Quincy Jones, the late trombonist Melba Liston, alto saxophonist Phil Woods, and tenor saxophonist Benny Golson performed in Ecuador, Argentina, Uruguay, and Brazil to frenzied, beret-wearing fans. Recordings were made but they weren't commercially available and were played only for a select group of musicians before Gillespie's death in 1993. Now the sides have been released, showcasing Dizzy at his bebopping best.

Dizzy Gillespie (along with altoist Leo Wright, pianist Lalo Schfrin, bassist Bob Cunningham, and drummer Chuck Lampkin) were in peak form for this live performance. Their versions of "Kush," "Salt Peanuts," and "The Mooche" are all excellent, but it is "A Night in Tunisia," with its absolutely stunning trumpet break (which lasts half a chorus), that is most memorable.

This release presents all existing live recordings by the legendary mid-fifties Dizzy Gillespie big Band made during their 1956 South American tour. The short-lived group featured such talents as Quincy Jones, Lee Morgan, Joe Gordon, Melba Liston, Al Grey, Phil Woods, Benny Golson and Wynton Kelly. Also included here are two sambas recorded in Rio de Janeiro by the trumpeter with a Brazilian orchestra, as well as four amazing tracks featuring Diz in Buenos Aires with the tango orchestra of Osvaldo Fresedo.