On Encores, Vol. 2: Blue 'N' Boogie, the legendary American guitar icon, generational multi-instrumentalist, and masterfully panoramic architect of modern jazz phrasing Wes Montgomery is celebrated in a towering, historically volcanic, and beautifully swing-heavy archival document. Released in 1996 by Orrin Keepnews' specialized legacy reissue vanguard imprint Milestone Records, this monumental milestone stands as an exceptionally fluid, high-octane monument compiling brilliant unissued alternative takes and rare performances from Wes's absolute peak creative era. Spanning over 56 minutes of immaculate remastered spatial design across 10 expansive tracks, the historical landscape operates with an intense, beautifully syncopated, and masterfully balanced acoustic kinetic energy. Montgomery acts as a brilliant sonic visionary, weaponizing his revolutionary thumb-plucking technique, pristine parallel octaves, and peerless chordal blues geometries—tracking spectacular landmarks from the staggering 11-minute hard bop firestorm of Dizzy Gillespie's title cut Blue 'N' Boogie and a soaring, extended modal drive through Miles Davis's Tune-Up to a deeply poetic, space-conscious reading of Born To Be Blue. Surrounded by an absolute pantheon of hard bop royalty including Wynton Kelly, Johnny Griffin, Mel Rhyne, and Philly Joe Jones, this pristine archive remains an indispensable masterpiece for serious bop purists and classic jazz guitar collectors worldwide.

This exceptional two-on-one compilation from Universal brings together two brilliant, deeply rewarding early-1960s piano trio dates from the legendary soul-jazz and hard bop icon Bobby Timmons. Combining 1962's Sweet & Soulful Sounds and 1963's Born To Be Blue, the collection perfectly captures the exquisite, blues-drenched phrasing and structural depth that defined Timmons' classic Riverside Records era. On the first half, Timmons is joined by the stellar rhythm engine of bassist Sam Jones and drummer Roy McCurdy, spinning through elegant, gospel-inflected configurations of Richard Rodgers' The Sweetest Sounds and a soulful reading of God Bless The Child. The second half, Born To Be Blue, showcases an intimate trio setting featuring elite Modern Jazz Quartet drummer Connie Kay, with bass duties shared between Sam Jones and a young Ron Carter. From the evocative, late-night warmth of the Mel Tormé title track to sweeping, expansive originals like Know Not One and Often Annie, these sessions find Timmons balancing his signature driving block chords with staggering melodic lyricism. The result is a definitive, deeply expressive acoustic jazz document that serves as an essential testament to Timmons' enduring genius as both an interpreter and a master trio leader.

On Soul Time, the definitive architect of soul-jazz piano, Bobby Timmons, leads an absolutely blistering, deeply infectious hard bop session that epitomizes the gritty, blues-drenched sound of the early 1960s. Originally recorded in 1960 for Riverside Records and preserved on this stellar Original Jazz Classics reissue, the album finds Timmons commanding an elite powerhouse quartet. Reunited with his former Jazz Messengers boss Art Blakey on drums, alongside the brilliant trumpet stylist Blue Mitchell and the rock-solid double bass of Sam Jones, the group burns with incredible rhythmic authority. The tracklist features phenomenal, groove-heavy Timmons originals like the driving title track, So Tired, and Stella B., alongside a soulful, exploratory rendition of the standard You Don't Know What Love Is. Throughout each performance, Timmons' signature gospel-inflected block chords and Mitchell's lyrical brass lines ride effortlessly over Blakey's explosive polyrhythms. The result is a definitive, deeply expressive jazz document that stands as an essential pillar of the hard bop era.

Portrait Of Cannonball is a spectacularly explosive, historically monumental, and masterfully synchronized hard bop studio masterpiece led by the legendary American alto saxophone vanguard titan Julian "Cannonball" Adderley, reissued on compact disc by Fantasy’s premier independent historical preservation imprint Original Jazz Classics. Spanning nearly 58 minutes of breathtakingly swinging, blues-drenched instrumental interactions across 9 definitive tracking alignments, this high-fidelity restoration serves as an absolute pinnacle monument in late-1950s acoustic jazz archaeology. Recorded in New York City on July 1, 1958, for Orrin Keepnews's iconic Riverside label, Adderley utilizes this unique quintet configuration to execute a fierce, forward-thinking sonic blueprint that seamlessly marries his deep, gospel-laced blues roots with the sharp, sophisticated harmonic frameworks of the emerging post-bop vanguard.

Virtually all of Sam Jones' occasional dates as a leader featured him in a purely supportive role with a medium-size all-star group. This set is a bit different, for Jones is often in the forefront, heading a trio also including pianist Kenny Barron (who switches to electric piano on one song) and drummer Keith Copeland. Barron is actually the dominant soloist during a program consisting of three originals by Jones, two by Barron and the opening Thelonious Monk tune "Rhythm-A-Ning," although Jones has his spots. Well-played post-bop music that is most significant for the contributions of Barron.

Guitarist Kenny Burrell leads a strong jam session that features the talented but very underrated trumpeter Louis Smith (who sounds a bit like Lee Morgan), the similar but contrasting tenors of Junior Cook and Tina Brooks, pianist Duke Jordan, bassist Sam Jones, and drummer Art Blakey. Jordan's tongue-in-cheek "Scotch Blues" is a high point.

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.

Recorded in New York in 1958, and released the same year, In Orbit is trumpeter Clark Terry’s sixth album as leader. Featuring Thelonious Monk on Piano, in his only Riverside outing as sideman, the album also features Sam Jones (bass) and Philly Joe Jones (drums). This new edition is released as part of the Original Jazz Classics Series and features remastered audio from the original master tapes. Available on 192/24 hi res digital.

The legend of Bill Evans really begins with this album, his second. The pianist had just spent most of 1958 as part of one of the major units in jazz history: the Miles Davis Sextet that also featured John Coltrane and Cannonball Adderley. His fellow musicians already knew his worth (the album title was almost literally accurate, and the four endorsements on the cover, which embarrassed Bill, could easily have been greatly multiplied); with this record, the jazz public began to follow their lead. Aided by Sam Jones and Philly Joe Jones, Evans set down some of his most swinging trio sides, but the session would be memorable if it had only yielded the remarkable and haunting solo improvisation called "Peace Piece."

True Blue is led in title under the auspices of Dexter Gordon as a welcome home party conducted by Don Schlitten for the expatriate tenor saxophonist in 1976. Essentially a jam session, this very talented septet features a two tenor-two trumpet front line, utilized to emphasize the soloing strength of the horns, not necessarily in joyous shouts or big-band like unison outbursts. The real star here is Barry Harris, and if you listen closely to his comping behind the soloist or his many colorful chords and single-line runs, you realize how brilliant he continued to be in his prime during this beyond-bebop time frame. The distinctly different, legato flavored sound of Al Cohn contrasts nicely to the broader range and richer tones of Gordon, while Blue Mitchell's warm West Coast trumpet phrasings also run aside but a little behind the animated and clipped brassy sounds of Sam Noto, a player deserving much wider recognition, and playing to the hilt on this recording. The session kicks off with the classic superimposed melodies of "Lady Bird" and "Half Nelson," with melodies split between the trumpet and tenor tandems.

Sam Jones was a prolific sideman during his career, though he recorded on an occasional basis as a leader. This 1978 session, just a few years prior to his premature death, finds him leading a powerful post-bop quintet, his regular group at the time, with cornetist Terumasa Hino, tenor saxophonist Bob Berg, pianist Ronnie Mathews, and drummerAl Foster. Jones primarily plays a supporting role through a good part of the date, though he is prominently featured in the interpretation of Paul Chambers' "Visitation," while he also revisits his breezy bop vehicle "Del Sasser." Mathews penned the tense modal work "Jean Marie" which incorporates a quirky unison horn line. Berg, who worked with Tom Harrell, likely is responsible for the inclusion of the trumpeter's brisk bossa nova "Before You" and his rapid-fire cooker "Occurance"…

Niels-Henning Ørsted Pedersen was quite comfortable in extending an invitation to Sam Jones for this unusual recording date, which features the two bassists, along with guitarist Philip Catherine (who sticks to playing acoustic) and drummer Billy Higgins, with Albert "Tootie" Heath's tambourine added on two tracks. Both bassists had played with the formidable pianist Oscar Peterson, so they not only knew something about playing rhythm but were very potent soloists to boot. Pedersen's singing tone contrasts with the darker sound of Jones, though the players nimbly shift roles throughout the sessions. Among the highlights is a bright, breezy setting of John Coltrane's "Giant Steps," Jones' lush ballad "Miss Morgan," and a dramatic take of "Yesterdays." This fun date was evidently the only time Niels-Henning Ørsted Pedersen and Sam Jones had the opportunity to work together, but they made the most of it.