Although it has come out on a budget label, these four performances (taken from concert appearances in 1978, 1980 and 1981) had never previously been released before. With support from either George Cables or Milcho Leviev on piano, David Williams or Bob Magnusson on bass and drummer Carl Burnett, the great altoist Art Pepper is in excellent form on an emotional "Kobe Blues," an intense version of "Patricia" and hard-swinging renditions of "Allen's Alley" and his own "Straight Life".

This was the first and last time Pepper worked with Jordan, and came about as a result of Pepper's usual pianist, George Cables, being unable to make the dates at Club Montmartre in Copenhagen. To Pepper's dismay, Danmarks Radio decided to record the first gig of the Montmartre series. Pepper need not have worried – the show was a rousing success, with the band tackling a set of standards (and a couple of Pepper originals) with such verve and determination that relatively simple tunes turned into astounding solo workouts (there are several drum and bass solos to be heard on this record), the amazing highlight of which is a shot at "Besame Mucho" that rounds out to twenty-two minutes. Art Pepper was in the process of dying at the time this recording was made, but there's no lack of energy, no loss of vitality. A two-CD live jazz set that's well worth having and should not be overlooked.

Altoist Art Pepper, in the midst of a successful comeback, recorded this excellent set (also included in full in his massive Galaxy box set) for Galaxy. With pianist Stanley Cowell, bassist Cecil McBee and drummer Roy Haynes, Pepper performs a definitive version of his intense ballad "Patricia"; other highlights include "Miss Who," "Lover Come Back to Me" and "Chris' Blues." The CD reissue also has a second alternate version of "These Foolish Things".

Hadley Caliman recorded a few albums in the 1970s, then didn't record as a leader for several decades until after retiring from his teaching job, then came a series of CDs issued by Origin, of which this is the third. This reunion with fellow tenor saxophonist Pete Christlieb marks their first opportunity to play together since the mid-'60s, aside from one brief meeting in the 40-plus-year stretch leading up to this record date. Many two-tenor sax sessions end up being battles, but the two veterans are old friends who aren't trying to top one another and instead focus on inspiring each other's playing. The potent rhythm section includes pianist Bill Anschell, bassist Chuck Deardorf, and drummer John Bishop, all seasoned players who provide excellent support throughout the date. There's plenty of fire in the rousing workout of "Love for Sale." The very deliberate setting of "I Thought About You" features some of Caliman's most powerful solo work, while the two tenor men have a ball in the loping treatment of Freddie Hubbard's timeless jazz waltz "Up Jumped Spring." The bulk of the CD features strong original compositions. Caliman contributed the vibrant "Comencia," blending a slight Afro-Cuban flavor in a brisk bop vehicle, as well as the hypnotic "Gala," which proves to be the most dramatic performance of the session.

This two-CD sampler is most highly recommended for listeners not familiar with Stan Getz's recordings of the 1950s and '60s. Starting with a version of "Stella by Starlight" that co-stars guitarist Jimmy Raney, this set matches Getz's cool tenor with such artists as trumpeters Dizzy Gillespie and Conte Candoli, trombonist J.J. Johnson, baritonist Gerry Mulligan, pianists Oscar Peterson, Bill Evans and Chick Corea, valve trombonist Bob Brookmeyer and vibraphonist Gary Burton. Also included are his two main bossa nova hits "Desafinado" and "The Girl from Ipanema" along with a couple of tracks from Getz's highly-rated Focus album. It's a fine overview of the great tenor's middle years.

Altoist/arranger Benny Carter's classic Further Definitions is a revisiting, instrumentation-wise, to the famous 1937 session that Carter and tenor saxophonist Coleman Hawkins made in France with two top European saxophonists (Andre Ekyan and Alix Combelle) and guitarist Django Reinhardt. The all-star group (which also includes Hawkins, altoist Phil Woods, Charlie Rouse on second tenor, pianist Dick Katz, guitarist John Collins, bassist Jimmy Garrison, and drummer Jo Jones) performs a particularly inspired repertoire. Carter's charts, which allow Hawkins to stretch out on "Body and Soul," give everyone a chance to shine. "Honeysuckle Rose" and "Crazy Rhythm" hold their own with the 1937 versions, and "Blue Star" and "Doozy" prove to be two of Carter's finest originals. Although Benny Carter was not actively playing much at the time (this was his only small-group recording during 1963-1975), he is heard in typically prime form. Very highly recommended.

Scott Hamilton's Ballad Essentials collects interpretations of standards like "Skylark", "Body and Soul", "In a Sentimental Mood", "'Round Midnight", and "My Romance". A solid collection from one of mainstream jazz's most consistent tenor sax players.

This four-CD box set contains all of the recordings Charlie Parker made for the Savoy label and it is overflowing with gems and an almost countless number of alternate takes. Bird was one of the most important jazzmen of all time and nearly every note he recorded (in the studios if not live) is well worth hearing. This box starts off with his sideman date with Tiny Grimes in 1944, contains Parker's famous "Ko Ko" session of 1945 (with a young Miles Davis on trumpet and highlighted by "Now's the Time" and "Billie's Bounce"), and continues through his 1947-1948 quintet sessions with a more mature Miles Davis; either Bud Powell, John Lewis, or Duke Jordan on piano; bassists Tommy Potter, Curly Russell, or Nelson Boyd; and drummer Max Roach. Together they recorded such classics as "Donna Lee," "Chasin' the Bird," "Milestones," and "Parker's Mood." Every scrap that the great altoist cut for Savoy is in this box.

Part of Blue Note's quality series of artist samplers, The Best of Hank Mobley surveys the great tenor saxophonist's prime stretch from 1955-1965. Originally overshadowed by the likes of Joe Henderson, Wayne Shorter, and, of course, Coltrane, Mobley nevertheless gained the respect of his peers, thanks to his richly fluid phrasing and smooth, caramel tone – in lieu of trying to impress you, he seduced you slowly from afar. And while one is advised to dive in directly with any one of his Blue Note discs – especially Soul Station, No Room for Squares, and A Slice of the Top – this ten-track overview still works well as a launching pad. Backed by a stellar array of "Blue Note" regulars like Lee Morgan, Curtis Fuller, Billy Higgins, Freddie Hubbard, and Horace Silver, Mobley ranges effortlessly from early hard bop favorites ("Funk in a Deep Freeze") to mature, solo-rich material from the mid-'60s ("The Turnaround"). In between, there are two stunning originals from his banner year of 1960 ("This I Dig of You," "Take Your Pick") and one of the best of his several bossa nova numbers ("Recado Bossa Nova"). For listeners who just want a taste, this best-of collection will do the trick just fine.

Hank Mobley was a perfect artist for Blue Note in the 1960s. A distinctive but not dominant soloist, Mobley was also a very talented writer whose compositions avoided the predictable yet could often be quite melodic and soulful; his tricky originals consistently inspired the young all-stars in Blue Note's stable. For this CD, which is a straight reissue of a 1965 session, Mobley is joined by trumpeter Lee Morgan, trombonist Curtis Fuller, pianist McCoy Tyner, bassist Bob Cranshaw, and drummer Billy Higgins (a typically remarkable Blue Note lineup) for the infectious title cut, three other lesser-known but superior originals, plus Wayne Shorter's "Venus Di Mildew." Recommended.

This excellent Columbia album was recorded less than a year after Dexter Gordon's well-publicized tour of the United States following a dozen years spent living in Europe. With assistance from such other major players as trumpeters Woody Shaw and Benny Bailey, vibraphonist Bobby Hutcherson sounds in superlative form on Woody Shaw's "The Moontrane," four standards, and his own "Fried Bananas." In addition to the original program (which features Dexter with an all-star tentet), the 1997 CD reissue adds two 1979 features for vocalese singer Eddie Jefferson ("Diggin' It" and "It's Only a Paper Moon") that were originally released on Gordon's Great Encounters; trumpeter Shaw and trombonist Curtis Fuller co-star with Gordon. An excellent acquisition.

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.

One of the most infamously acrimonious musical unions transpired between two of the leading purveyors of West Coast cool jazz: Chet Baker (trumpet) and Stan Getz (tenor sax). Their paths crossed only a handful of times and West Coast Live captures two of their earliest encounters in Los Angeles at the Haig on June 12, 1953, and the Tiffany Club on August 17, 1953. These recordings have been issued in Europe and Japan ad infinitum in varying degrees of quality, completeness, and often sporting erroneous data. However, enthusiasts should note that West Coast Live is the only release derived from producer/engineer Dick Bock's own master reels. For two men who purportedly would rather not be in the same room at the same time, Baker and Getz are able to create some legitimately brilliant improvisation. For the Haig set, Getz had been brought in to co-lead a quartet with Baker for an incarcerated Gerry Mulligan.