This is one of the most exceptional sounding female vocalist recordings of the 1970s. Guest appearances include guitar work by both the Eagles' Glenn Frey and super session man Larry Carlton, plus harmonica by the Nitty Gritty Dirt Band's Jimmy Fadden, bass and drums by L.A. A-teamers Lee Sklar and Russ Kunkel and pedal steel by Sneeky Pete.

1976's Hasten Down The Wind is one of her most powerful, mature and yes, adventuresome albums she was to undertake. Drawing on mostly ballads and using crafted arrangements to emphasize vocals (many featuring gorgeous accapella sections); never to-date had she delivered such a song-to-song concentration of emotion. Continuing to find her muses in writers as diverse as the late Warren Zevon, Ry Cooder, Willie Nelson and Karla Bonoff, this collection was the artist's first to go platinum and captured her a Grammy for the year's best female pop vocal performance.

True to its title, Tigerlily balance fierceness and delicacy, creating a rare span of emotional territory. Listening to Tigerlily, a distinct songwriter's voice emerges, one which possesses strength and vulnerability. The lyrics are personal, the arrangements stark and sparse. Tigerlily was engineered by John Holbrook, who has worked with The Band, Peter Tosh, and the Isley Brothers.

The album yielded two strong singles, her beautiful renditions of the Motown classics "Heat Wave" and "Tracks Of My Tears." In addition the album included a banjo-strumming version of Neil Young's "Love Is A Rose," a plaintive pop reading of Jimmy Cliff's reggae classic "Many Rivers To Cross" and a lovely cover of Dolly Parton's "I Will Always Love You." On Prisoner In Disguise Ronstadt delivers another collection of well crafted, carefully arranged rock, pop and country songs that wonderfully exemplify her fine talent and taste.

Little Feat was discovered and signed to the Warner Brothers label by legendary producer Russ Titelman. The band's 1971 self-titled debut instantly established Little Feat as a fresh slice of musical Americana. This eclectic group of talent, formed for barely a year, were steeped in their love of rock, R&B, blues and country with just a pinch of New Orleans spice. After honing their unique blend in clubs and on the road; they were able to capture the magic of their live shows in the studio. The resulting release, tastefully assisted by guests Ry Cooder on bottleneck slide and Sneaky Pete's pedal steel, was one of the most unpretentious and timeless recording debuts since Music From Big Pink.

The sophomore release from America's sovereign Southern rock band, the Allman Brothers' Idlewild South is easily their greatest studio album. Unlike the band's labyrinthine live shows, which are distinguished by their immense, walloping swamp rock, this album focuses on the considerable songwriting capabilities of Gregg Allman and Dickey Betts. Showcasing the original lineup, before multiple tragedies began taking their toll on the band; the lightning slide guitar of Duane Allman, the vocals and Hammond B-3 of his brother Greg Allman, lead guitarist Dickey Betts, bassist Berry Oakley and the thunderous drum tandem of Butch Trucks and Jaimoe Johanson, this album lays bare their talent for weaving disparate but distinctly Southern elements of rock, gospel, soul, jazz and R&B into a cohesive and original whole.

Lets Get It On is one of the most erotic recordings known to mankind. Inspired by Gaye’s obsession with a teenage girl, who would later become his second wife, the first half of the record is a self-contained suite. The second half, including “You Sure Love To Ball,” is nearly pornographic. Over time, five songs would chart from the album, including one of his concert standards, “

Bored with his role as John Lennon in the musical Beatlemania in February of 1980, Marshall Crenshaw decided to try his hand at songwriting. By August of that year, he was playing his songs at gigs around Manhattan with his drummer brother, Robert and bassist Chris Donato. After singer Robert Gordon recorded three of his tunes, Crenshaw was signed by Warner Brothers and this, his self-titled debut album was released in 1982. It was immediately lauded as a pop masterpiece and Crenshaw was recognized as a first-rate songwriter, singer and guitarist. Gems like "Someday, Someway," "She Can't Dance" and "Not For Me" all remain timeless classics that add up to one of the finest debuts of its day.

Cohn's debut album is masterfully produced and features brilliantly crafted musical arrangements that perfectly accentuate his soulful, rich baritone timbre and graceful, contemplative piano performances. Songwriting styles vary from the Memphis/Elvis/Graceland mythic imagery of the hit single to the seemingly Springsteen-inspired writing of "Silver Thunderbird."

Foghat's fortunes turned around with their 1975 release Fool For The City, which was their first album to go platinum and it introduced the band to Top 40 radio with the enduring rock favorite "Slow Ride." Fool For The City still stands as the group's finest achievement and its well-crafted and ambitious set of tunes is the perfect representation of the road-tested band of '70s hard rock

Bachelor No. 2 or the last remains of the dodo was recorded at the same time as Aimee Mann's soundtrack to the film Magnolia (in fact, this album contains four of the same songs). The multi-layered keyboards and interwoven guitars provided this former 'Till Tuesday lead singer and songwriter with the perfect backdrop for her distinctive and intimate voice. Her collaborators include producer Jon Brion, Heartbreaker pianist Benmont Tench, singers Juliana Hatfield and Grant Lee Phillips, and most significantly in many capacities, Michael Penn.

After much success (and a little luck) with their Little Richard and Chuck Berry hits packages, MoFi next visited the Sony vaults to identify and audition the original masters of another rock pioneer. This famous Roy Orbison collection had originally been compiled by Monument Records in 1972 and has stayed in print ever since. Before being wooed away by the old MGM Records label, Orbison experienced an astonishing run for Monument, placing 15 singles (all included here) in the Top 100 on the pop and country charts.

The metal masterpiece from Megadeth. Applauded by critics and fans alike, Countdown to Extinction is an ultra hard rock album that truly stands the test of time. Featuring the intense guitar fury of Metallica co-founder Dave Mustaine and Shrapnel super star Marty Friedman, and coupled with the pounding thunder of bassist Dave Ellefson and drummer Nick Menza, this album cemented Megadeth's eternal standing as keepers of the faith and true Metal Gods. Play it LOUD!!!

By 1980, Rush was experiencing the mid-point of what would be their golden period of recording (1976-1982). Released in January that year, Permanent Waves was a transitional exercise that moved them further from the "prog-rock" lump-labeling and pointed the way for their next masterpiece the following year, Moving Pictures. Peaking at No. 4 on the Billboard Album Chart, Permanent Waves spawned such perennial concert staples as "Freewill" and "Spirit of Radio." Well-beyond the power-trio of old, Geddy Lee, Alex Lifeson and Neil Peart each contributed equally, with multiple instrumentation and arranging approaches. An undisputed rock classic.

One of rock's true masterpieces, this stunning sophomore effort was released in September 1970 to unanimous accolades and went No. One on the Billboard Pop Album chart. Utilizing the studio more in overall production than on their debut (especially in mixing and using cross-fades) the band and producer Fred Catero (Janis Joplin, BS&T, Chicago) still maintained the street energy and ethnic roots, while elevating Carlos' guitar passages to god-like status; resulting in the pinnacle of their album output. Wicked re-worked arrangements of songs as dichotomatic as the connecting of Peter Green's "Black Magic Woman" with Gabor Szabo's "Gypsy Woman" in medley, followed directly in sequence on side one with Tito Puente's "Oye Como Va" was both brilliant and on-par with anything going down in music at the time, period.

.Recorded by Peter Moore on June 28, 1986 using a Calrec Ambisonic Microphone, the Cowboy Junkies debut reveals the band's innovative sense of interpretation, deep, dark ethereal soundscapes, and a brooding, hypnotic, laconic musical style uniquely their own. Featuring classic blues repertoire written by the legendary likes of John Lee Hooker and Robert Johnson, Whites Off Earth Now also features a raw, eerie version of Bruce Springsteen's "State Trooper." This evocative sonic alchemy succeeds due to Margo Timmins' languid, haunting vocals, Michael Timmins' sparse, yet soul piercing guitar, Alan Anton's evocative, gently loping bass and Alan Aton and Peter Timmins' tastefully, understated percussion embellishments.

.

.Verve gathered together the best musicians for the studio recording: Clark Terry, Bob Brookmeyer and Jim Hall were there to produce a carpet of sound over which Stan Getz could float. At the beginning of the Sixties, Stan was, of course, at the very top of his form as far as sound perfection goes. After an "apprenticeship" with swing bands in the mid-Forties and "further training" with classical small ensembles in the Fifties, he found his ideal source of the art of improvisation: Brazilian music with its song-like, simple themes, Latin-American rhythms and melodic intervals. And these brought him acclaim, fame and money.

.
Like Django Reinhardt, Horace Parlan did the impossible and turned a disability into an advantage. Stricken with polio as a youth that left him with a partially paralyzed right hand, Parlan became a major jazz pianist who developed a highly original rhythmic style. By the time he recorded the classic Speakin' My Piece in 1960, he had convinced Charles Mingus (who hired him in 1957) that he was one of the most soulful pianists on the scene.

.
"Satchidananda means knowledge, existence, bliss. Listen with your inner ear to Alice along with Pharoah Sanders, Charlie Haden, Rashied Ali, Cecil McBee, and others." - Downbeat.

Kenny Drew was an underrated master of bebop. A brilliant pianist who started with the example of Bud Powell and then developed his own sound within the style, in the '50s Drew worked with the likes of Coleman Hawkins, Lester Young, Charlie Parker, Buddy DeFranco, Dinah Washington and Art Blakey. By 1960 when he recorded Undercurrent, Drew had already led 10 albums of his own, mostly with duos and trios. Oddly enough he only had the opportunity to lead two albums in his life for Blue Note, an early effort from 1953 and the classic Undercurrent.

An alto player originally deep-rooted in bop, who by the late fifties was beginning to shed his Charlie Parker influences and take a more bluesy/soul approach. Blues Walk, from a one-day session in July of '58 has attained unanimous five-star status with the title track itself becoming one of the leader's signature tunes. Donaldson carefully chose his cohorts personally for their cohesiveness as a unit. Never one to engage frequently in wide-open "blowing sessions," the results are powerful yet melodic and in one case, "Autumn Nocturne," fairly romantic without causing full-blown diabetes. Pianist Herman Foster's intense pianistics almost steal the show while Peck Morrison's bass and the often-overlooked Dave Bailey's drumming augment to perfection. The addition of Ray Barretto's congas (a regular on many of Donaldson's sessions from this period) is tasteful and a nice touch without turning every song into a Latin re-write.

There is plenty of good to be discovered in Johnny Hodges (even if gossip has it that he was no angel!), but for that you need the recordings being available. Thanks to the top-quality of this re-release of Verve 8452 you certainly don't have to place top-bids at an auction anymore!

With a new band and 14 new songs, Kari Bremnes is releasing her ninth solo album Over en By (Over a City). She has written all the lyrics and most of the music. On this album, Kari has shifted into a new gear. The essence of her art as a singer/songwriter is more brilliant and inspiring then ever, letting you sense the sparkling energy bubbling underneath her cool and elegantly understated observations on life, time, love and disguise.

"A classic set originally cut for the Choice label, a program of ballads exquisitely interpreted by singer Irene Kral and pianist Alan Broadbent. The tempos are all quite slow, but the emotional yet cool intensity given by Kral and Broadbent means that there are no slow moments. Among the songs given definitive and memorable treatment are Blossom Dearie's 'I Like You, You're Nice' and Bob Dorough's 'Love Came On Stealthy Fingers,' 'Never Let Me Go,' and especially 'Spring Can Really Hang You Up The Most.'" – All Music Guide

The Ellington band is superb and Louis just blows and sings to your heart's content. Transfered, for the first time, directly from the three track session masters. You can hear everything! If you had to take one record to a desert island with you this would be one of the top choices.

This critically-acclaimed and Grammy-nominated 1972 album marked the beginning of McCoy Tyner's nine-year association with the Milestone label and producer Orrin Keepnews. It is a deceptively simple record, employing four tunes from the band's regular repertoire and one solo piano piece. But Tyner seemed to have brought under control his overwhelming pianistic skills and the lessons learned during six years with John Coltrane. The results, particularly on the 23-minute development of the title tune, are lastingly impressive.

"Pepper and Baker are at their best, alto sax and trumpet tightly knit in the cool-bop ensembles and offering urgent, well-argued solos…the Pure Pleasure vinyl treatment could make this one another audiophile classic." – Steve Harris, Hi-Fi News, June 2006.

"One of the more remarkable aspects of Stan Getz's 1972 masterpiece is just how organic he was able to keep the sound. The band surrounding Getz on this Columbia date was led by Chick Corea, drummer Tony Williams and Brazilian master percussionist Airto. With the exception of Clarke, all the rest had played with Miles Davis in his then-experimental electric bands…But make no mistake, this is a Stan Getz record, his gorgeous tenor tone furiously and fluidly playing through all of Corea's difficult changes on Corea's Latin carnival jam, 'La Fiesta,' and shapeshifting his way through mode changes on 'Five Hundred Miles High.'…Captain Marvel is the finest recording Getz made in the 1970s." – All Music Guide

If you have admired Gil Evans' arrangements on the Miles Davis recordings, you owe it to yourself to check this out. These recordings help make the case that Gil Evans was one of the great jazz arrangers of all time. Gil Evans always manages to communicate with sophistication and nuance, and on these sessions he manages to have fun as well. This is a LP of Gil Evans rearranging classic jazz standards like "St. Louis Blues," "King Porter Stomp" and "Lester Leaps." It's an LP you can enjoy as a peek into modern jazz of the late '50s, or as a set of very interesting big band orchestrations.

Vocalist Stacy Kent is an exceptional ballad interpreter, and she puts a unique sound and delivery to this collection of covers. She makes each song her own, and is backed here by a tight-knit group of professionals, including her husband, Jim Tomlinson, who contributes clarinet and tenor sax. Dreamsville hit the Swedish Pop Charts in 1999 and won the Gold Award in Japan's Swing Journal that same year.

This is a flat-out killer record! Highly recommended. Cole is fabulous, period. She explores a number of styles on this, her second album. Adding pop, blues, country and a French ballad to her standard, low-key jazz, Cole demonstrates that not only does she have impeccable taste, but she has the talent to make all of the material sound convincing. On "Get Out Of Town," pianist Aaron Davis gets up while playing and places one of his hands over the piano string while continuing to play with the other. This damped-string effect is an extremely interesting counterpoint to Cole's idiosyncratic, sexy style. This is an all-time audiophile favorite, now cut from the original master on Bernie Grundman's all-tube cutting system and pressed on 200-gram virgin vinyl.

A musical "dream team" featuring Stanley Clarke, one of the most innovative bass players of the past three decades, Japanese pianist Hiromi, who has emerged as a rising star on the jazz scene, and the versatile drummer Lenny White, best known for his work with Return To Forever. Clarke's acoustic recording of originals by Clarke and Hiromi along with the reinvented standards is jazz virtuosity at its highest level.

Ray Brown, Gene Harris and Gerryck King are spectacular in this 1984 recording. Red Holloway (tenor sax) and a rare appearance by the great Emily Remler (guitar) round out the original musicians. This will be the consummate issue of this famous release. Stan Ricker plays the bass to this day and is a big fan of Ray Brown, making his half-speed remastering of this record a special situation. RTI pressed this gem on 180-gram virgin vinyl. The LPs are individually numbered and packaged in gatefold jackets. This is the first of a special series of Pure Audiophile LPs called the "Lab Reference Series." This version of Soular Energy includes three fantastic alternate takes mixed by Phil Edwards at PER just like with the original session. Another track, "CC Rider," was added as a bonus to even out the four sides of this incredible two-LP set.

Amos Lee is one of those special singer songwriters that comes along very infrequently. On this, his first release, he sings songs from the heart that we can all relate to and does so with a voice that we all wish we had. Amos opened for Norah Jones on her 2004 European tour and for Bob Dylan and Merle Haggard in 2005.

Rich and rhythmic, sparkling and seductive, Felix Baloy's voice marks him as one of Cuba's very finest someros. This magnificent performance showcases a true artist at the peak of his profession, backed by the thrilling arrangements of Juan de Marcos and the peerless Afro Cuban All Stars.

From the opening notes of the classic ballad "As Time Goes By," we are fully aware that we're in the presence of a master. The tone is luminous; the placement of the notes, impeccable; the feeling profoundly affecting. More than almost any other improviser of his caliber, Gordon understands exactly why "the fundamental things apply." This expanded issue of Manhattan Symphonie includes two bonus tracks: Thelonious Monk's lustrous "Ruby my Dear" and a previously unreleased on vinyl rendition of "Secret Love," a Gordon favorite. In addition to the acclaimed writer Pete Hamill's wonderful original liner notes, there is a lovely reminiscence from pianist George Cables.

"Hip Hits" offers commercially successful titles from the realms of soul, film music, jazz, and pop presented with a new look. Alongside compositions by Herbie Hancock and Jimmy Smith we find Dave Brubeck's "Take Five," and a Beatles hit of later years "A Taste Of Honey," not to forget themes from unforgettable films such as "Exodus" and the bossa nova hit "Desafinado": all these numbers were set down with the excellent recording technique of the A&R Studio in New York and make this album an absolute "must" for every collector.

You might consider buying this one just for the title track. Wow!

Nancy Wilson is ballads with an emotional finesse that bridges a complexity of human temperaments. Nancy Wilson is rhythms which move in a variety of propelling directions. Nancy is a completeness of contemporary popular excellence.

An audiophile 180-gram vinyl edition of the legend's classic 1959 Grammy winning LP. Mastered from the original analog tapes and pressed at RTI. The original album was engineered by Bill Schwartau and Tom Dowd and supervised by Nesuhi Ertegun and Jerry Wexler. Features Charles' Grammy winning version of "Let The Good Times Roll," arranged by Quincy Jones.

Wonderful work by Nina -- the kind of record that once made purists turn up their noses, but which is now being rediscovered as a unique jazz/soul crossover album, filled with loads of nice moments! The instrumentation's pretty darn interesting -- and includes sitar, harp, Spanish guitar, and other odd percussion instruments. Includes Nina's nice version of "Funkier Than a Mosquito's Tweeter", plus "I Want A Little Sugar In My Bowl", "Dambala", "Obeah Woman", and "The Pusher".

The Red Hot Ray Brown Trio (Concord, 1987) employed Mickey Roker and Gene Harris and was recorded at the Blue Note in New York City, November to December 1985. Mastered from the original Concord analog masters.

When The Way It Was! was issued in 1972, Art Pepper's fans were surprised and pleased to discover that 16 years before, he had recorded with the enigmatic, underrated tenor saxophonist Warne Marsh. The four pieces on which they collaborated were among both men's best work of the mid-Fifties. To complete the album Contemporary added previously unissued tracks from Pepper's famous encounters with two great Miles Davis rhythm sections and a 1960 Pepper performance of "Autumn Leaves" that he regarded as one of his best solos. Pepper's own liner notes present his typically trenchant evaluations of the music and the players.

Bitches Brew is thought by many to be the most revolutionary album in jazz history, having virtually created the genre known as jazz-rock fusion and being the jazz album to most influence rock and funk musicians. This double LP featured up to 12 musicians at any given time, most of whom would go on to be high-level players in their own right: Joe Zawinul, Wayne Shorter, Airto, John McLaughlin, Chick Corea, Jack DeJohnette, Dave Holland, Don Alias, Benny Maupin, Larry Young, Lenny White and others.

For Ben Webster, his Los Angeles years of the late 1950's and early 1960's held massive frustration that was relieved by only a few high points. Jobs were scarce, and the lack of recognition and appreciation must have been heartbreaking for this tenor saxophone giant who felt things deeply. A bright spot for Webster was that when he worked, it was often with the splendid band in this album. In Jimmy Rowles, Jim Hall, Red Mitchell and Frank Butler, he had sympathetic and inspirational colleagues. This live recording captures their remarkable empathy.

This must be one of the very first albums of saxophonist Tom Scott, it was released in 1972 on Impulse and shows a very young leader on the cover with his band, consisting of equally young Chuck Damanico on bass, John Guerin on drums and Mike Lang on piano. A nice musical document in the evolution of Tom Scott.

This is one of their best releases." Recording = 9/10; Music = 9/10 ¡V Dennis D. Davis, Hi-Fi+, Issue 58

The solo referred to in the title, God Bless My Solo, is that in "Flying Home," which Illinois Jacquet made into a Decca Records microphone in May 1942. This solo became one of the two or three most influential solos in all of jazz history, an 80-second masterpiece. Nearly every tenor player who followed made it a priority to learn that solo, note for note. But "Flying Home" marked neither the beginning nor the end of Jacquet's seven-decade career. He was one of jazz's great survivors, thought of as an outrageous musician when he was young but hailed as a classic figure in old age. He was as effective with romantic jazz ballads as he was with the explosive performances with which he made his reputation. Jacquet is heard in top form throughout this quartet set, recorded for the French Black & Blue label, whilst touring throughout Europe in the 1970s.

If ever there was an LP to study the perfect art of swing tenor sax playing, then this must be it! In the '60s, fans of a rich, full sound coupled with a flowing style must have been thrilled when this LP by Ben Webster and his associates appeared on the market. Leonard Feather called the trio "heavy weights" and their massive sound certainly matches their corpulence. While it is difficult to single out just one of the musicians, it is easy to distinguish them: Ben (called "The Brute") plays with a raspy, vibrating sound; Coleman (known as "The Bear") is a master of flowing swing; and Budd has an earthy, resonant bluesy sound.

When Cannonball Adderley scheduled the 1958 recording of what was to be his only Blue Note LP, he called on his old employer from their days as quintet members on Columbia, Miles Davis. The reunion resulted in one of the greatest and most revered Jazz LPs ever: Somethin' Else. The quintet delivers beautiful strong renditions of "Autumn Leaves," "Love For Sale," "One For Daddy-O," "Dancing In The Dark" and the title tune. Cut from the original first generation analog masters, it sizzles. Now available on Classic Records Cl

Anna Netrebko lets her hair down. On this, her fourth solo album for Deutsche Grammophon, she gives full rein to her lively sense of fun, glamour and joie de vivre. In the tradition of such opera luminaries as Elisabeth Schwarzkopf, Joan Sutherland and Pla'cido Domingo, all of whom produced acclaimed recitals of lighter music, Anna has put together this sparkling compilation of operetta classics, seductive salon songs and other charming melodies. Souvenirs is also the singer's most intimate recording yet, for - as the title suggests - each of the tracks holds a cherished place in Anna's heart, and many of them come with a special memory.

One of Analogue Productions' most successful and collectible projects has been the Miles Davis Quintet/The Great Prestige Recordings deluxe box set on 33 1/3 LP. Now, that beautiful five-album set is being reintroduced. And at 45 RPM, it's more stunning than ever!
Featuring a 12" x 12" 16-page gorgeous booklet, packaged with the LPs in a deluxe, heavy-duty box, this set is the end-all of Miles' work for the legendary Prestige label from 1951 through 1956. Stereophile awarded the first incarnation of this set Recording of the Month in their March 1997 issue, giving it five stars for both music and sonics. That was at 33 1/3 RPM.

This set is limited to 750 hand-numbered copies.Imagine these same records at 45 RPM!

The first vinyl LP sampler by Stockfisch. The label selected 10 tracks from the Stockfisch repertoire of the last four years and cut them on an audiophile 180-gram LP. Artists include Sara K., Steve Strauss, Chris Jones, David Roth, Eugene Ruffolo and others.

"David Roth, a powerful new singer-songwriter, has reached our hearts. With voices like his still singing, there's a certainty that the candle will remain lit, the hope reasserted and the dream still sung." ¡V Peter Yarrow (Peter, Paul & Mary)

The songs of David Roth stimulate all of the listener's senses. His clear and soulful voice conveys so much emotion that it can be frightening, at first ¡V such is the intensity that he projects. Every word is carefully formed and sounds absolutely unique. The stories he sings reveal themselves as reality. David Roth has not invented these stories, and why should he?

The Paperboys from Vancouver perform live in the studio: When they play, you can hear the sound of tin whistle, violin and bodhra'n, this is Celtic folk music, bluegrass, Mexican music and country music - and it is plain to hear they are having a lot of fun doing this.

Folk-Pop, Jazz-Blues, Scat-Vocals and just a hint of avant garde: Sara K., the singer-songwriter based in Santa Fe, New Mexico (originally from Dallas, Texas), has never paid much attention to musical "borders." With her excitingly expressive voice and four-string guitar, she occupies a niche that is no less unique than the stories she sings. Sara has lived these stories, is right in the middle of them and relates them from the heart - warm, personal and moving.

This is an entirely analog direct-to-disc recording, from the mix and the signal path to the cutting head of the VMS-80 lathe. What makes this particular production interesting is the splitting of the analog stereo sum into three destinations. In addition to the direct analog signal for DMM cutting, Stockfisch converted the mix into highest-grade DSD (Direct Stream Digital, 2,8224 MHz) ¡V using a one-bit converter ¡V and into conventional digital audio format, 16-bit/44.1 kHz PCM, as well.

This 1949 session from one of the all-time jazz greats (female or otherwise) features fellow heavyweights Miles Davis, Freddie Green and Budd Johnson among others.

Another incredible Lightnin' Hopkins performance, this one with the man on vocal, guitar and piano. Recorded at Nola Penthouse Studios in New York City in November of 1960. Reissue mastered from the original analog master tapes by Ray Staff at Alchemy. Pressed on 180-gram vinyl by Pallas.

"The year after he formally disbanded his trio to turn his attention to vocal pop music, Nat "King" Cole reversed himself and went into the studio with guitarist John Collins, bassist Charlie Harris, and drummer Bunny Shawker and recorded Penthouse Serenade, a quiet, reflective set of standards like "Somebody Loves Me" and "Laura" that he performed instrumentally at the piano. The album confirmed that, whatever success he might be having as a singer, he hadn't lost his touch." All Music Guide