Kenny Burrell's guitaristry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless the Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalog. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar.

Granted, a single-disc overview of Blue Note's finest recordings can't help but offer listeners more than a myopic view of the label's true scope, but for jazz neophytes, this nine-track collection will undoubtedly serve as a tantalizing taste of the company's riches. The song selection, though lacking few surprises, is consistently wonderful – how could a disc featuring John Coltrane's "Blue Train," Herbie Hancock's "Maiden Voyage," Horace Silver's "Song for My Father" and Lee Morgan's "The Sidewinder" be anything but? – and purists' complaints aside, for new fans it's a solid introduction to the Blue Note magic.

Part of the ultimate audiophile Prestige stereo reissues from Analogue Productions — 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All cut at 33 1/3 and also released on Hybrid SACD All mastered from the original analog master tapes by mastering maestro Kevin Gray.

Kenny Burrell's guitaristry is well-documented in his years with Oscar Peterson and on his first dates as a leader on the Blue Note label, but God Bless the Child, his only date for CTI in 1971, is an under-heard masterpiece in his catalog. Burrell's band for the set includes bassist Ron Carter, percussionist Ray Barretto, Richard Wyands on piano, flutist Hubert Laws, trumpeter Freddie Hubbard, and drummer Billy Cobham. CTI's house arranger, Don Sebesky, assembled and conducted the strings in a manner that stands strangely and beautifully apart from his other work on the label. Sebesky understood Burrell's understated approach to playing guitar. Burrell didn't belong with the fusioneers, but he could groove better than any of them…

The second of two CD reissues of a jam session led by guitarist Kenny Burrell features the talented if forgotten trumpeter Louis Smith, both Junior Cook and Tina Brooks on tenors, pianist Bobby Timmons (Duke Jordan was on the first volume), bassist Sam Jones and drummer Art Blakey. The all-star group performs two standards ("Caravan" and the guitarist's feature on "Autumn in New York"), Sam Jones's "Chuckin'" and Burrell's "Rock Salt." This is excellent music that easily fits into the bop mainstream of the period.

Jazz Portraits presents The Jazz Guitar Vol. 4. Wes Montgomery, Tal Farlow, Billy Bauer, Lee Konitz, Kenny Burrell, Grant Green, Jim Hall and others.

Tin Tin Deo is a typically tasteful set by guitarist Kenny Burrell. Performing in a sparse trio with bassist Reggie Johnson and drummer Carl Burnette, Burrell plays boppish and swinging versions of his own blues "The Common Ground," Erroll Garner's playful "La Petite Mambo," and six jazz standards. Nothing particularly surprising occurs but Burrell is heard throughout in above-average form and this release should please his fans.

This CD by guitarist Kenny Burrell begins with a solid swinger, Will Davis' "Mark 1." Unfortunately, most of the remainder of the set is ballad-oriented and features Burrell's vocals on nearly half of the selections. While Burrell's voice is not bad, it cannot carry an entire project by itself. His guitar playing is fine, but there are no moments where one feels that he is really stretching himself. There are appearances from veteran pianist Gerald Wiggins and tenor saxophonist Herman Riley that add a little bit of spark to the set, but not enough to make this so-so effort all that memorable.

Recorded 1956-1957. Although the original LP was reissued under guitarist Kenny Burrell's name, it was originally led by Frank Wess, who is heard doubling on flute and tenor. With the assistance of Burrell, rhythm guitarist Freddie Green, bassist Eddie Jones and either Kenny Clarke or Gus Johnson on drums, Wess is in excellent form on a set very reminiscent (not too surprisingly considering the personnel) of the Count Basie band. Wess contributed four of the songs, Burrell brought in "Southern Exposure" and the quintet also plays "Over the Rainbow" and the obscure "Woolafunt's Lament." This is a fine straightahead date, with Wess's flute taking solo honors.

The jazz jam session has always been reserved for in-concert or club performances. Where these 1956-1957 recordings from guitarist Kenny Burrell and his all-star septet and sextet differ is that they were made in the confines of Rudy Van Gelder's recording studio, where the musicians were able to stretch out on two of the most memorable modern long-distance jam sessions of all time - All Night Long and All Day Long. Initially available as individual LPs and then together as a two-fer, this is a welcome reissue, showcasing perhaps the finest collective groups the Detroiter ever fronted. The extended aforementioned title tracks, with ample solo room for these individualists, were the best friends of after-hours radio DJs, and in the case of All Day, very danceable…

After its original release on Cadet Records in 1966, Have Yourself a Soulful Little Christmas was out of print for years until a 1992 reissue. With pensive, meditative, precise playing, it's a must-have and features a definitive jazz hit version of "Little Drummer Boy."