Not only does this LP feature a "new quartet," but it marks the beginning of Gary Burton's longtime association with ECM. In general, Burton's ECM dates were more introverted and laid-back than his more diverse Atlantic releases, but they always had their moments of interest. On this set, the vibraphonist, guitarist Mick (then known as Michael) Goodrick, bassist Abraham Laboriel, and drummer Harry Blazer perform numbers by Chick Corea ("Open Your Eyes, You Can Fly"), Keith Jarrett ("Coral"), Gordon Beck, Carla Bley, and Mike Gibbs, in addition to Burton's "Brownout." Intriguing if not essential music.

This Savoy CD is a duplicate of the original LP although it lacks the fine liner notes included on the Arista/Savoy 1978 LP. The four selections (which unfortunately total under 34 minutes) are excellent, particularly a fun version of Horace Silver's blues "Opus De Funk" in which vibraphonist Milt Jackson, flutist Frank Wess and pianist Hank Jones have a long tradeoff. The quintet (which also includes bassist Eddie Jones and drummer Kenny Clarke) swings nicely throughout the three blues and lone ballad ("You Leave Me Breathless"). This is not essential, but it is enjoyable music.

This album is certain to be placed in the MJQ section of any shop that carries it. In reality though, only four of the cuts here feature the permanent, stand-alone, 1952-vintage Modern Jazz Quartet; the other eight having been done in the summer and fall of 1951, when they were still known as the Milt Jackson Quartet, with Jackson providing all of the original material. The differences are so subtle as to be indistinguishable – Milt Jackson and John Lewis are on every cut, while Al Johns subs for Kenny Clarke on drums, and Ray Brown precedes Percy Heath on four of the tracks. Clarke's drumming is more impressive in its quiet way, but Ray Brown's bass work is simpler and more forceful.

Here is the 12th volume in the complete chronological recordings of Lionel Hampton as reissued by the Classics label. It opens with Hamp's final five recordings for the MGM label, waxed in Los Angeles on October 17, 1951. This was a 20-piece big band using charts written by Quincy Jones, and the music it made feels much different from what's to be heard in the next leg of Lionel Hampton's odyssey, a Norman Granz-produced quartet session with Oscar Peterson, Ray Brown and Buddy Rich, recorded in New York on September 2, 1953. While the big band sides are exciting and fun, with a hip vocal by Sonny Parker on "Don't Flee the Scene Salty" and a singalong routine led by Hamp on "Oh Rock," the quartet swings cohesively, stretching out for six, seven or nearly eleven minutes, for the LP era had begun and Norman Granz encouraged extended improvisations. The combination of Oscar Peterson and Lionel Hampton, whether cooking together on "Air Mail Special" or savoring the changes of a ballad like "The Nearness of You" made spirits to soar and sparks to fly.

Pianist Makoto Ozone, who was a member of Gary Burton's group at the time, invited the great vibraphonist to his recording debut as a leader, a trio outing with bassist Eddie Gomez. 23 at the time, Ozone already had impressive technique and a generally introspective style that meshed well with Burton. The groups performs five of Ozone's originals (including the two-part "Endless Season"), and even if the results are sometimes a bit sleepy, the pianist does show a lot of potential.

In addition to a few group originals, vibraphonist Mike Mainieri performs some unusual pieces with his quartet (Joe Lovano on tenor, soprano, and alto clarinet; bassist Eddie Gomez; and drummer Peter Erskine) on this CD, including two folk songs and selections by Leonard Bernstein ("Somewhere"), Frank Zappa ("King Kong"), Aaron Copland ("Piano Sonata"), Roger Sessions ("Piano Sonata No. 1"), and Samuel Barber ("Overture to the School for Scandal"). The pianoless quartet (which displays a lot of versatility by Joe Lovano) turns all of the music into creative jazz. The most interesting aspect to this thought-provoking disc is how difficult it is to tell which compositions are taken from classical music and which are new. There is a surprising unity to the potentially difficult material; the performances on the rather moody outing reward repeated listenings.

Live at the Philharmonie was the Dave Pike Set's third record for MPS in the year 1969 alone; Noisy Silence-Gentle Noise (MPS 15215) and the stellar Four Reasons (MPS 15253) preceded it. One of the most interesting ideas about this amazing set of music concerns the notorious circumstances under which it was recorded, at the 1969 Berlin Jazz Days festival. The reason for this is the year itself: Miles Davis and his group had brought their fiery brand of electricity to jazz and its reverberations were being heard the world over. At the same time, prog rock and Krautrock were making their heads (considered ugly by jazz purists) known in the guises of Can, Neu!, Amon Düül, and Faust. Add to this Charlie Mariano's great band, the new hip embracing of rock culture by the Kenny Clarke-Francy Boland Big Band, Peter Herbolzheimer's Rhythm Combination & Brass, and any number of other groups, and Berlin was in a state of tension. The wild thing is, everybody agreed on Pike's group – it was the bridge between the jazz tradition, what was transpiring, and what was to come.

Vibraphonist Cal Tjader took a brief vacation from playing Afro-Cuban jazz to record this fine straight-ahead bop set. The 1956 LP matches Tjader with the underrated but always swinging pianist Gerald Wiggins, bassist Eugene Wright (shortly before he joined the Dave Brubeck Quartet), and drummer Bill Douglass. They perform four basic originals (two apiece by Wiggins and Wright) and five standards, including a swinging "Battle Hymn of the Republic" and "Our Love Is Here to Stay." On this date, more than almost any other one, Tjader displays his debt to Milt Jackson's style.

All vibraphonists owe a debt of gratitude to Lionel Hampton for paving the way in traditional and modern jazz, pioneering the instrument as more than in an accompanist role or being heard only in lounges. In his heyday, Teddy Charles was a prime example of taking Hampton's approach to a different level, eventually in hard and post-bop, but here he takes swing era tunes of Hamp's, changing up or editing their melodic structures with a quartet featuring pianist Hank Jones, and a larger ensemble with horn complement. This album as reissued on CD is known as Salute to Hamp and subtitled "The Vibraphone Players of Bethlehem, Vol. 1" as issued originally on the Bethlehem label, reissued by Avenue Jazz. It showcases Charles, not so much in an evolutionary fashion, but as a complete performer and bandleader. He is a singularly unique jazzman who anyone can appreciate, and is quite able to hold interest of listeners beyond conventional wisdom of what well-worn standards can sound like with just a little inspiration and soul.

John Cocuzzi is a versatile, talented multi-instrumentalist jazz musician who, with his quintet, stretches out for an entertaining 60 minutes-plus of solid, straight ahead jazz on this very good album. A Washington, D.C. native, Cocuzzi gained an appreciation of jazz at an early age listening to his record collection and to his father, who was a percussionist with the U.S. Marine Band. Initially studying piano and then drums after hearing Lionel Hampton, vibes were added to his arsenal of instruments. Swingin' and Burnin' revisits the small group swing of the '30s and '40s popularized by Benny Goodman, Hampton, Artie Shaw, and others. Cocuzzi adds his own flavor along with some artful arrangements to such warhorses from the past as "Slipped Disc," "Benny's Bugle," and "You're Nobody Till Somebody Loves You." On the latter, Cocuzzi shows off his vocal skills along with a boogie woogie piano. "Broadway" epitomizes the adroit swinging of the quintet, with each member of the group getting a chance to show their wares during the seven minutes they devote to this Teddy McRae/Bill Bird melody.

Marc is releasing a new album “Interesting Times” featuring vocalist Sarah Pillow. In addition to vibraphone, Marc plays half of the drum tracks on this album as well as percussion. This fourth solo release reflects on the very “Interesting Times” we live in, and it all translates into a realistic and hope-filled view of the future.