Known for his mariachi-inspired easy listening sound, trumpeter Herb Alpert is one of the most successful instrumental performers in pop history. He is also one of the entertainment industry's canniest businessmen, having co-founded A&M Records – a label that ranks among the most prosperous artist-owned companies ever established – with partner Jerry Moss. Collection includes: The Lonely Bull (1962); South Of The Border (1964); Whipped Cream & Other Delights (1965); !!Going Places!! (1965); What Now My Love (1966); S.R.O (1966); The Beat Of The Brass (1968); Rise (1979); Fandango (1982); Bullish (1984); Keep Your Eye On Me (1987); Classics, Volume 1 (1987); Steppin' Out (Featuring Lani Hall) (2013); In The Mood (2014); Come Fly With Me (2015).

Whether as a trumpeter or singer, Chet Baker was always the subject of controversy among jazz listeners, a victim of fashion who was doomed in his lifetime to be either over- or underrated. These Pacific Jazz recordings from the mid-1950s present Baker the instrumentalist at the height of his popularity. While his coolly passive treatments of ballads like "Imagination" and "Stella by Starlight" may play to the languid stereotype of West Coast jazz, there's boppish fire and invention on the medium- and up-tempo tunes, with Baker emphasizing the middle register that was his forte. Altoist Art Pepper and valve trombonist Bob Brookmeyer turn up among the supporting cast, and there's a good choice of material by boppish heads from both coasts, including Carson Smith's "Carson City Stage," Jimmy Heath's "C.T.A.," and Al Haig's "Jumping Off a Clef".

Hakan Hardenberger possesses a polished technique, a clear tone, and a smooth legato, and his playing is superb. A few examples of questionable musicianship (such as the undue stress he puts on the resolution of trills) point to the fact that he is a not-yet-fully-educated virtuoso. One might prefer a somewhat less bright, more mellow and burnished sound, but the technique and control the trumpeter exhibits are not to be faulted. He offers an excellent cadenza, true to the style of the period. Sir Neville Marriner and the Academy of St. Martin-in-the-Fields do a smashing job with the rest of the piece. Philips's engineering is excellent, though the trumpet is larger-sounding and closer than it should be a small flaw.

This package contains the original, studio-concocted Miles Davis set that Miller mostly composed. There's also a previously unreleased gig from that year's Nice Jazz festival, delivered by a powerful octet including the late Bob Berg on tenor sax. As liner-note writer Ashley Kahn points out, I made an about-turn over this music in the 80s, from first doubting it as bland funk to reconsidering it as late-flowering Miles, creativity galvanised by Miller's input. But more importantly, Kahn's fine essay offers insights into Miller's assessment that producing finished studio tracks for Miles to blow on didn't work: you had to leave them as rougher sonic sketches and let his improvising bring them to life.

“Flash” is a 1990 release by The Phil Woods Quintet + One, showcasing a dynamic blend of bop and hard bop with a modern edge. Led by the expressive alto saxophone of Phil Woods and complemented by Tom Harrell’s lyrical trumpet and flugelhorn work, the album delivers a series of sophisticated compositions and interpretations. The ensemble benefits from the addition of trombonist Hal Crook, enriching the harmonic depth and brass interplay. With strong contributions from Hal Galper on piano and a tight rhythm section, the album balances intricate arrangements with inspired improvisation, resulting in a vibrant and engaging jazz session.

“That Was Then, This Is Now” is a 1990 release by Japanese-American trumpeter Tiger Okoshi, known for his vibrant blend of jazz fusion, hard bop, and contemporary jazz elements. The album showcases Okoshi’s expressive trumpet and flugelhorn playing, combining lyrical melodies with energetic improvisation and modern production textures.
The compositions, all written by Okoshi, move through a variety of moods—from introspective and atmospheric pieces to more rhythmically driven, fusion-oriented tracks. The presence of electric instruments, synthesizers, and a dynamic rhythm section gives the album a distinctly modern sound while still rooted in jazz tradition. Okoshi’s distinctive voice on the trumpet is at the forefront, delivering both technical precision and emotional depth throughout the album.
“That Was Then, This Is Now” reflects a transitional and forward-looking approach, bridging classic jazz sensibilities with the evolving sounds of the 1990s fusion scene.

A Tale Of God's Will (A Requiem for Katrina) is a powerful and deeply emotional work by trumpeter Terence Blanchard, released in 2007 as a tribute to the victims and devastation of Hurricane Katrina. The album blends jazz with orchestral elements, creating a cinematic and highly expressive soundscape that reflects themes of loss, resilience, and remembrance. Blanchard’s trumpet playing is at the center of the recording, delivering haunting melodies and expressive phrasing that convey both sorrow and hope. The collaboration with The Northwest Sinfonia, conducted by Blanchard himself, adds a rich orchestral depth, elevating the music to a large-scale, almost film-score-like experience. Tracks such as “Ghost of Congo Square,” “Levees,” and “Funeral Dirge” highlight the album’s reflective and somber tone, while pieces like “Mantra” provide rhythmic intensity and emotional contrast. Supported by a strong ensemble including Brice Winston, Aaron Parks, Derrick Hodge, and Kendrick Scott, the album balances improvisation with composed orchestral writing. The result is a moving and cohesive artistic statement that stands as one of Blanchard’s most significant and impactful recordings.

The Vibe is the debut studio album by trumpeter Roy Hargrove, released in 1992, showcasing his emergence as one of the leading voices in modern jazz. At a young age, Hargrove demonstrates remarkable maturity, blending post-bop traditions with contemporary influences to create a fresh and dynamic sound. The album features a strong ensemble of accomplished musicians, including Branford Marsalis, David “Fathead” Newman, and Gregory Hutchinson, contributing to its rich and versatile musical palette. Hargrove’s trumpet playing is both lyrical and powerful, moving effortlessly between expressive ballads and more rhythmically driven compositions. Tracks like “Caryisms” and “The Vibe” highlight his compositional skills and improvisational fluency, while standards such as “Milestones” and “Things We Did Last Summer” reflect his deep connection to jazz tradition. The interplay between the musicians is energetic and cohesive, with each track offering space for individual expression within a structured ensemble setting. This album stands as a strong introduction to Hargrove’s career and a significant contribution to early 1990s jazz.

It goes without saying that Maurice Andre is one of the greatest trumpet players of the 20th century. This particular CD is a compilation of pieces originally written for the Oboe and transcribed for Trumpet. While some purists may scoff at this the linear notes do a good job of providing musical justification for this act.

22-year-old Tine Thing Helseth performs as soloist in front of the best orchestras of Europe on a full time basis. Her highly successful debut recording last year with the classic trumpet concertos is followed now by a beautiful album where Tine performs a selection Christmas music in classic arrangements.

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.

Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue possess such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace – each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz – tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band – Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb – one of the greatest in history, playing at the peak of its power.