Picture of Heath (also known as Playboys was the best collaboration ever by two of the greatest jazz masters of all time: trumpeter Chet Baker and alto saxophonist Art Pepper. This set presents the complete album, along with, as a bonus, seven tracks from a previous session fronted by both stars.

Recorded in 1982 by Jeffrey Weber and arranger Allyn Ferguson, this live to two-track digital set showcases Freddie Hubbard in the company of two large bands - one a brass group, the other a string orchestra - both of which feature the same rhythm section. Ferguson wrote three tunes for the session, including the funky "Hubbard's Cupboard" and "Two Moods for Freddie" (which shifts gears from elegant and nocturnal to finger-popping contemporary electric jazz in the course of a couple of minutes); this pair opens and closes the album. The cover of Joe Zawinul's "Birdland" is reverent but swinging, and Hubbard's lone composition here, "Bridgitte," is a beautiful ballad that showcases the strings and Dan Ferguson's sweetly singing electric guitar and opens up into a midtempo groover…

Chet Baker in New York features the trumpeter in the company of a strong New York unit including Johnny Griffin, Al Haig, Paul Chambers and Philly Joe Jones. These tracks mark the only collaborative recordings by Baker and Griffin. A reading of “Soft Winds” that completes the sessions (originally released on the various artists album New Blue Horns), and a full date that was recorded in New York the following year (on which Baker plays four songs by Alan Jay Lerner and Frederick Loewe) have been added as a bonus.

This recording was the third and final matchup between guitarists Herb Ellis and Joe Pass and, unlike the first two (which were both made for Concord), this is a duo date rather than a quartet session. Pass was just beginning to gain recognition for his remarkable unaccompanied solos, but Ellis had not recorded in such a sparse setting before. They complement each other quite well on such tunes as "Love for Sale," "Seven Come Eleven," "Oh, Lady Be Good," "I've Found a New Baby," and two versions of "Cherokee."

This release presents the complete original LPs "Chet Baker & Strings", which marked the trumpeter’s first experience recording with a string orchestra, and "Chet Baker Ensemble". Both albums feature important jazz luminaries, such as Zoot Sims, Herb Geller, Jack Montrose, Bud Shank and Bob Gordon, plus the rhythm section of Russ Freeman, Joe Mondragon, and Shelly Manne. As a bonus, this edition contains the complete LP "Chet Baker Sextet", featuring Bob Brookmeyer and Bud Shank, as well as a 1956 Chet Baker big band date.

The instrumental studio tracks recorded by the classic Chet Baker Quartet with pianist Russ Freeman complement the vocal sides issues on Chet Baker Sings. The 1952-53 instrumental sides originally appeared on Pacific Jazz EPs and were later reunited on Cool Baker Vol. 1 and Cool Baker Vol. 2. Quartet: Russ Freeman and Chet Baker, taped in 1956, contained the very last collaborations between the trumpeter and pianist.

This superior reissue combines together two sessions led by vibraphonist Milt Jackson. Actually, although Bags is in fine form (and contributed four of the seven selections), he is often overshadowed by rather inspired solos from his sidemen. The first side of Plenty, Plenty Soul, which features a nine-piece group, is highlighted by the contributions of the exuberant altoist Cannonball Adderley, while the flip side has a sextet that is not hurt by the solos of tenor-saxophonist Lucky Thompson. With pianist Horace Silver helping out on both sessions, these all-star dates still sound fresh and enthusiastic decades later.

You have to admire New York Voices' diversity – this is a jazz vocal group that has embraced everything from modal post-bop and Brazilian jazz to Stevie Wonder pearls. And how many artists have devoted an entire album to jazz interpretations of Paul Simon tunes? Not everything the Voices have recorded is great, but more often than not, their sense of adventure and open-mindedness have served them well. After paying tribute to pop-rocker Simon in 1997, the Voices make big band music the main focus of Sing, Sing, Sing. This time, they are backed by a big band and turn their attention to gems associated with swing icons like Benny Goodman ("Sing, Sing, Sing," "Don't Be That Way"), Duke Ellington ("In A Mellow Tone"), Woody Herman ("Early Autumn"), and Artie Shaw ("Stardust"). Although many of these classics came out of the Swing Era, Sing, Sing, Sing also has its share of post-World War II gems. Ralph Burns' lovely "Early Autumn" is a gem that Herman recorded in 1948, when he was exploring bop with his Second Herd and the Four Brothers. And "Orange Colored Sky," which was a major hit for Nat "King" Cole in 1950, is quite relevant to the CD's big band theme because Cole recorded it with the Stan Kenton Orchestra.

Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording. With fine backup by pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, Bags and Trane stretch out on two of Jackson's originals (including "The Late Late Blues") and three standards: a romping "Three Little Words," "The Night We Called It a Day," and the rapid "Be-Bop."

First-ever compilation of his Atlantic Records recordings and featuring previously unissued live take on “Darn That Dream.”

This live set features tenor great Ben Webster playing with pianist Jimmy Rowles, guitarist Jim Hall, bassist Red Mitchell, and drummer Frank Butler in a club, and the music is consistently wonderful. Whether showing warmth and sentimentality on "Georgia on My Mind" and "Stardust" or growling and roaring on "Caravan" and "Ole Miss Blues," Webster (who was then somewhat taken for granted) is in superior and creative form.

Pianist Jan Lundgren from Ystad in Sweden and guitarist Yamandu Costa, from Brazil’s southernmost province Rio Grande del Sur might seem an unlikely pairing, and the combination of guitar and piano is well known to be fraught with difficulty. But the collaborative affinity of this duo, the chemistry which they have found through playing together, first in a handful of concerts, and now on this fine album, are something truly exceptional.

Many of vibraphonist Milt Jackson's Atlantic recordings are long overdue to appear on CD, and that certainly includes Bean Bags, which features a meeting with the great tenor Coleman Hawkins. Assisted by a top-notch quartet (pianist Tommy Flanagan, guitarist Kenny Burrell, bassist Eddie Jones, and drummer Connie Kay), Bean Bags romps through "Stuffy," "Get Happy," a pair of Jackson originals, and two fine ballads, with "Don't Take Your Love From Me" being particularly memorable.

Brothers Jimmy Heath and Albert "Tootie" Heath carry on together in the tradition of the Heath Brothers band, minus their deceased brother, bassist Percy Heath. David Wong ably fills the bass chair, while pianist Jeb Patton has been working with the Philadelphia-based siblings for going on his dozenth year. There's a certain ease and calm present in Jimmy Heath's tenor sax playing that reflects the wisdom of his seasoned years, an assured stance that is never rushed or over-pronounced. This tone sets up the type of uncomplicated mainstream modern jazz based in bop that most fans can embrace and enjoy. It is refreshing that Jimmy Heath can still crank out new compositions that retain both traditional values and a universal appeal. And – if it actually needs to be said – Albert Heath is one of the greatest jazz drummers of all time, and continues on his tasteful, skillful, perfectly balanced path, a common example for students and fellow pros to follow. A perfect example of their combined expertise kicks off the set with "Changes," an effortless, light, breezy, and melodic a type of straight-ahead jazz as you will ever find.