In July of 1960, in protest against what they considered the failings of the jazz scene and the accelerating commercialization of the annual Newport Jazz Festival, Charles Mingus and Max Roach staged their own "rebel" festival at nearby Cliff Walk Manner, RI. The rebels set up their own tents for sleeping, built their own stage, handled advertising, promotion, ticket taking and MC duties. By all accounts the concert was wholly inspired and a peaceful affair. Meanwhile, what was supposed to be an alternative festival turned out to be the only one in town. Unable to disperse an intoxicated mob of young people seeking access to the sold-out show at Freebody Park, the actual Newport Jazz Festival ended abruptly in a full scale riot. Despite the fact that these sessions were held in the studio, the music reflects the high-spirited freedom of the best jazz played at the original setting with nearly all of it improvised during the recording. Of particular note is the Booker Little track "Cliff Walk," which features both Max Roach and Jo Jones, two of the greatest jazz drummers ever, trading off. The LP includes extraordinary liner notes written by Hentoff himself, giving a context and insight that adds to the experience of hearing these magnificent performances. This recording is remastered by legendary mastering engineer, Bernie Grundman.

This 1957 album from late jazz vocalist and pianist Blossom Margrete Dearie was her debut for Verve and her first American release after spending five years in France. Dearie is backed by guitarist Herb Ellis, bassist Ray Brown and drummer Jo Jones on a collection of standards by composers including Oscar Hammerstein II, Hart and Rodgers, Frank Loesser and others.

Blossom Dearie's second album for Verve, released in 1958, continued a streak of success that began with her first LP the year before. The jazz vocalist and pianist covers standards including the title song by Cole Porter, along with less familiar but no less impressive tunes. Dearie is backed on this session by the same stellar musicians as on her debut: guitarist Herb Ellis, bassist Ray Brown and drummer Jo Jones.

"The Nearness of You" is the fifth studio album by American jazz vocalist Helen Merrill. It includes performances of standards from two sessions with completely different lineups of accompanying musicians. The later session from February 21, 1958, features very notable jazz performers such as pianist Bill Evans and bassist Oscar Pettiford.

"Gee, Baby, Ain’t I Good To You" gives us a part of that wonderful evening of October 30, 1967 in the Fine Recording Studio on West 56th Street in Manhattan when the tapes rolled while Rushing and his old Basie bandmates, Dicky Wells, Buck Clayton, and Jo Jones reunited and entertained a select audience with relaxed, freewheeling renditions of classics from the blues and swing lexicon.

Innovative pianist and organist Milt Buckner originated the "locked hands" technique, emulated by his and future generations from George Shearing to Red Garland to Oscar Peterson and beyond. This album features Buckner with an all-star rhythm section of bassist Jimmy Woode, a Duke Ellington alumnus, and great swing drummer Jo Jones of the Count Basie Orchestra. Play Chords was awarded the Hot Club de France’s prestigious Grand Prix de Jazz for the best album of 1967.