When my Producer and long-time friend Pat Philips Stratta called to tell me that I had received the 2023 Living Masters award from the SmallsLIVE Foundation, I felt so honored! I was particularly pleased because it also gave me the opportunity to play at Mezzrow for two nights and record a CD in the afternoon of day three. For the first time in many years, I chose to change my Trio format and go back to Piano, Bass and Drums. For the last 20 years, my trio was piano, bass and guitar inspired by the great trios of Nat King Cole and Oscar Peterson. That requires everything to be arranged and lots of rehearsals, and I’ve been living in Ojai, California for the last 30 years, so rehearsals are not easy. This occasion gave me the opportunity to come East, and just kick back and play with my long-time colleague, Jay Leonhart on bass, and a musician I deeply admire (new to my trio) Dennis Mackrel on drums. For repertoire, I decided to choose mostly historical jazz standards that I’ve always loved, but I couldn’t stay away from arranging or guitar totally, so I invited Guitarist Roni Ben-Hur to be my special guest.

This exciting live session is pretty definitive of the Great Guitars. With fine support offered by bassist Joe Byrd and drummer Jimmie Smith, guitarists Charlie Byrd, Barney Kessel and Herb Ellis romp on such swinging numbers as "Broadway," "Air Mail Special" and "Straighten Up and Fly Right." As usual, Byrd, with his grounding in classical guitar, is the most distinctive, while Kessel and Ellis constantly pay tribute to Charlie Christian. This combination worked quite well, and each of the Great Guitars' five recordings are easily recommended to fans of bop guitar.

On this fairly typical trio set, guitarist Barney Kessel is joined by bassist Bob Maize and drummer Jimmie Smith. "Stella by Starlight," "St. Thomas" and "Shiny Stockings" generate some heat; there are three Kessel originals and also two veteran ballads. The music swings without giving listeners any real surprises, but Kessel's fans can consider this one of his best Concord recordings.

Charlie Byrd was teamed up with Barney Kessel and Herb Ellis (along with bassist Joe Byrd and drummer John Rae) for this rather exciting concert. While Ellis and Kessel have three unaccompanied duets, the inclusion of Byrd (thought of as a Brazilian specialist rather than a bopper) is the wild card that makes this set a major success. While Byrd is excellent on his features "Charlie's Blues" and "O Barquinho," it is the three stomps featuring all the guitarists ("Undecided," "Topsy" and "Benny's Bugle") that are most memorable.

Ben Webster's final American recording was one of his greatest. At 55, the tenor saxophonist was still very much in his prime but considered out of style in the U.S. He would soon permanently move to Europe where he was better appreciated. This CD has the nine selections originally included on the LP of the same name, a quartet set with either Hank Jones or Roger Kellaway on piano, bassist Richard Davis, and drummer Osie Johnson. Webster's tone has rarely sounded more beautiful than on "Someone to Watch Over Me" and "Our Love Is Here to Stay." In addition, one song from the same session (but originally released on a sampler) and two tunes featuring Webster on an Oliver Nelson date (More Blues and the Abstract Truth) wrap up this definitive CD.

This fill-in-the-gaps compilation of early-'60s sessions includes six tracks (two of them alternate takes) that were previously only available on the box set The Complete Riverside Recordings, and three previously unissued alternate takes from the performance that yielded the 1961 live album The Montgomery Brothers in Canada. Even with just nine tracks, Montgomery is heard in a variety of contexts: the ballad "If I Should Lose You" performed by the Montgomery Brothers (an alternate take), the 1962 live version of "S.O.S." with Johnny Griffin and Miles Davis' 1959-62 rhythm section (another alternate take), four 1963 songs with organist Melvin Rhyne, and the three unreleased 1961 Montgomery Brothers cuts (two of which are different versions of "Stella By Starlight") with vibraphonist Buddy Montgomery…

Sarah Vaughan was an American jazz singer, described by music critic Scott Yanow as having "one of the most wondrous voices of the 20th century." Nicknamed "Sassy" and "The Divine One", Sarah Vaughan was a Grammy Award winner. The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1989. Recordings of Sarah Vaughan were inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."

Four of the five selections on this CD reissue (which also includes "Tenderly") are obscure jazz originals by altoist John Jenkins, tenor saxophonist Clifford Jordan, or trombonist Julian Priester. Inspired by both Charlie Parker and Jackie McLean, Jenkins teams up with Jordan, pianist Bobby Timmons, bassist Wilbur Ware, and drummer Dannie Richmond for some bop-oriented improvising. Strange that this would be one of only two sets led by Jenkins. Although the Blue Note CD, recorded just 16 days later, gets the edge, this is an excellent effort too.

September 8, 1960 Oscar Pettiford, American bassist/cellist/composer with unparalleled recognition died abruptly at age 38 due to a virus disease in Copenhagen where he had made his permanent residence. He was one of American jazz players Denmark welcomed in in the 60s and 70s. A few weeks after Pettiford's passing a circle of Danish jazz fans organized a memorial concert presented here to raise funds for his children with a star-studded program that included Stan Getz, Alice Babs, among others.

On January 30, 1977 - a day after the sold out 3-day concerts celebrating legendary US saxophonist Stan Getz's 50th birthday in Copenhagen - Stan and his crew including Danish ace bassist Orsted Pedersen were in studio to record. The huge success of the double live album kept us in suspense for three decades for the release of the unissued material. Well, here it is for us to enjoy.

Jazz from The Pacific Northwest combines two previously unissued concert recordings from one of the greatest jazz drummers of all-time, Shelly Manne. The first recording features Monty Budwig on bass, Russ Freeman on piano, Stu Williamson on trumpet, and Herb Geller on flute and alto saxophone recorded at the Monterey Jazz Festival on October 4, 1958. The second recording features Hampton Hawes on piano, Frank Strozier on flute and alto saxophone, Conte Condoli on trumpet and guest vocalist Ruth Price on two tracks recorded at the Penthouse jazz club in Seattle on September 7 and 15, 1966.

Born in Detroit in 1932, Dorothy Ashby can be easily recognized as the woman who gave the harp a jazz voice. In her hands, the harp, an originally classical instrument which seemed to just scare people, became a highly versatile swinging voice able to drive a whole jazz rhythm section. Recorded in 1958 by master Rudy Van Gelder and originally released on the Prestige label, Hip Harp is a perfect example of Ashby's artistry. At the head of a fine quartet featuring the great Frank Wess on flute, Herman Wright on bass, and master Art Taylor on drums, Ashby creates a unique combination of deeply jazz elements expressed through a totally new sound.

The music on this LP recalls the airy "Four Brothers" sound that tenor saxophonists Stan Getz, Zoot Sims and Herbie Steward, and baritone saxophonist Serge Charloff, plied in Woody Herman's band of 1947. For this outing, Steward and Charloff exit, and four become five with the addition of tenor luminaries Al Cohn, Brew Moore, and Allen Eager. The set appropriately kicks off with Gerry Mulligan's "Five Brothers," a tune reminiscent of Jimmy Giuffre's original "Four Brothers" in its fluid and bouncy arrangement. Three other attractive and similarly disposed originals (one more by Mulligan and two by Cohn) complete the saxophone session from 1949, all featuring swinging statements by each soloist. A 1952 sextet date led by Sims and Cohn is also included, offering up another round of original and buoyantly swinging cuts, bolstered by lively contributions from trombonist Kai Winding and solid rhythmic support by pianist George Wallington, bassist Percy Heath, and drummer Art Blakey. A fine release that nicely showcases the cool, proto-West Coast bop forged by both these soloists and Miles Davis.