Since it's billed as "Directions in Music by Miles Davis," it should come as little surprise that Filles de Kilimanjaro is the beginning of a new phase for Miles, the place that he begins to dive headfirst into jazz-rock fusion. It also happens to be the swan song for his second classic quintet, arguably the finest collective of musicians he ever worked with, and what makes this album so fascinating is that it's possible to hear the breaking point – though his quintet all followed him into fusion (three of his supporting players were on In a Silent Way), it's possible to hear them all break with the conventional notions of what constituted even adventurous jazz, turning into something new. According to Miles, the change in "direction" was as much inspired by a desire to return to something earthy and bluesy as it was to find new musical territory, and Filles de Kilimanjaro bears him out.

One of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing, that at once compiled all of the innovations from his past, spoke to the current of deep spirituality that liberated him from addictions to drugs and alcohol, and glimpsed at the future innovations of his final two and a half years. Recorded over two days in December 1964, Trane's classic quartet–Elvin Jones, McCoy Tyner, and Jimmy Garrison– stepped into the studio and created one of the most the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship. From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical and emotionally varied soloing, while the rest of the group is completely atttuned to his spiritual vibe.

Recorded at about the same time as "Monkinus", the album by the same duo released on CIMP, the album is as good without adding too much. "Blue Monk", "Brilliant Corners", "Ruby, My Dear", "Epistrophy", "Criss Cross", "Evidence", "Monk's Dream", "Bye-ya", "Off Minor" figure on both albums…

This duet set by pianist Dave Burrell and David Murray (heard on tenor and bass clarinet) is mostly quite relaxed, surprisingly melodic in spots, and explorative but in subtle ways. Burrell's style both looks backward toward stride (and on "New Orleans Blues" to Jelly Roll Morton) and toward the future in its freedom…

The three-disc anthology The Real…Miles Davis: The Ultimate Miles Davis Collection brings together tracks the legendary trumpeter recorded for Columbia during the '50s and '60s. These are some of Davis' best-known and most influential recordings when he was at the height of his pre-fusion, modern jazz career. Included are such cuts as "So What," "I Thought About You," "Stella by Starlight," "Milestones," and more.

A fine straight-ahead jazz saxophonist, Eric Alexander grew up in the state of Washington. He initially attended Indiana University, studying classical music as an altoist. However, he soon discovered jazz, switched to the tenor, and transferred to William Paterson College in New Jersey. After graduating, he moved to Chicago and gained important experience touring with Charles Earland while also becoming a fixture in local clubs. In 1991, Alexander placed second at the Thelonious Monk Institute's saxophone competition, finishing just behind Joshua Redman…

Eric Alexander has had many opportunities to record as a leader for several different labels, though producer Tetsuo Hara, owner of the Japanese label Venus, has become a huge fan, recording him almost any time he travels to New York City. This 2008 session finds the tenor saxophonist with several musicians with whom he is very familiar, including pianist Mike LeDonne, bassist John Webber, and drummer Joe Farnsworth (the latter two who play with Alexander in the co-op band One for All)…

The pairing of electric guitarists Bill Frisell and John Scofield had to be one of the most auspicious since John McLaughlin and Carlos Santana. Acoustic bassist Marc Johnson's stroke of genius in bringing the two together on Bass Desires resulted in a sound that demonstrated both compatibility between the guitarists and the distinctiveness of the two when heard in combination. Add drummer Peter Erskine and you had a bona fide supergroup, albeit in retrospect a short-lived one, before Frisell and Scofield would establish their own substantial careers as leaders. The guitarists revealed symmetry, spaciousness, and a soaring stance, buoyed by the simplicity of their rhythm mates. This is immediately achieved on the introductory track, "Samurai Hee-Haw," as hummable, head-swimming, and memorable a melody as there ever has been, and a definite signature sound.

A solid bop-based pianist, Eddie Higgins has never become a major name, but he has been well-respected by his fellow musicians for decades…

Eric Alexander is in top form throughout this 2007 quartet session with some of his favorite bandmates, including David Hazeltine, bassist John Webber, and drummer Joe Farnsworth, all four of whom are members of the group One for All and regular participants on the Manhattan jazz scene in clubs and studios…