By the time of this 1960 recording, only his second as a leader, Dolphy has already dispensed with the "traditional" jazz instrumentation. With bassist George Duvivier and drummer Roy Haynes holding down the rhythm, Ron Carter moves to the frontline armed with a cello, joining Dolphy as he switches from alto to bass clarinet to regular clarinet to flute. Out There catches Dolphy at a significant crossroads: The music is more ambitious and more jagged than on its predecessor Outward Bound, but more cohesive and less aurally challenging than on his 1964 master work, Out to Lunch. Dolphy's improvisations---on each instrument--are bursting with creative, far-reaching ideas, expressive wails, and frenetic flurries while Carter's eerie arco (bowed) cello ambles quietly, sometimes melancholy, sometimes menacing. Dolphy's four originals show his absorption of Mingus---especially on the blues distortion of "Serene"---and provide perfect blueprints for his bizarre constructions. The quartet also handles one tune from Mingus himself (the ruminating "Eclipse") plus Randy Weston's fragile "Sketch of Melba." --Marc Greilsamer

DetailsAudio CD (June 5, 2007) Original Release Date: June 5, 2007 Number of Discs: 1 Format: Original recording remastered Label: Riverside

DetailsAudio CD (October 26, 2004) Original Release Date: October 26, 2004 Number of Discs: 1 Label: Justin Time Records

Details: Audio CD (September 24, 1991) Original Release Date: September 24, 1991 Number of Discs: 1 Label: Sony

Details: Audio CD (March 10, 2003) Number of Discs: 1 Format: Original recording remastered, Import Label: Sony

Audio CD (September 30, 2003) Original Release Date: May 31, 1957 Number of Discs: 1 Format: Hybrid SACD, Original recording reissued, Original recording remastered Label: Prestige

Product Description After 10 years and 6 albums on the indie label, Candid, Stacey Kent finally releases her major label debut on Blue Note Records. A multi-award winner (2001 British Jazz Award, 2002 BBC Jazz Award Best Vocalist, etc) Stacey has built a huge fanbase for her cool, classy interpretations of the Great American Songbook, all recorded with husband, arranger, producer and now songwriter Jim Tomlinson (himself a winner of the 2006 Album of the Year British Jazz Award). On "Breakfast..." Jim contributes 4 new songs written with the writer Kazuo Ishiguro - one of a legion of fans that Stacey has attracted over the years (they met after he played one of her songs on Desert Island Discs!!) and this is the first time that they have featured their own songs on an album. Stacey tours constantly - she even turned down an appearance on Parkinson because she was playing a gig (admittedly this would have been her second performance on Parkinson, which in itself is quite unique) - and has built up a very sizeable fanbase which will be determined to get the album as soon as possible. However, since Stacey is out of the UK through September we will be focusing our promotion and marketing push at the start of October as a preview to the forthcoming residency at Ronnie Scotts in November 1st - 3rd. Stacey will be available for press and promotion in late September/early October and we fully expect to find her on some major shows. In the past, her appearances on shows such as Parkinson, CBS Sunday Morning in the USA and even Swedish tv have driven an immediate and impressive sales response pushing her to number 1 and 2 in the Amazon.com charts as an example. As well as the Ronnie Scott dates in November Stacey will play a significant number of dates in the UK both this year. See below for information.

It is not just the timbre of Norah Jones's voice that is mature beyond her 22 years. Her assured phrasing and precise time are more often found in older singers as well. She is instantly recognizable, blending shades of Billie Holiday and Nina Simone without sounding like anyone but herself. Any way you slice it, she is a singer to be reckoned with. Her readings of the Hank Williams classic "Cold Cold Heart" and Hoagy Carmichael's "The Nearness of You" alone are worth the price of the CD. Jones's own material, while not bad, pales a bit next to such masterpieces. They might have fared better had she and producer Arif Mardin opted for some livelier arrangements, taking better advantage of brilliant sidemen such as Bill Frisell, Kevin Breit, and Brian Blade; or if the tunes had simply been given less laconic performances. Jones has all the tools; what will come with experience and some careful listening to artists like J.J. Cale and Shirley Horn is the knack of remaining low-key without sounding sleepy--sometimes less is not, in fact, more. --Michael Ross

Details: Audio CD (March 27, 2007) Original Release Date: March 27, 2007 Number of Discs: 1 Format: Live, Original recording remastered Label: Riverside

Reviews Wynton Marsalis headlines this lively, Night of the Cookers-type gig, recorded in Manhattan in 2002. Joining him on the frontline is his long-time partner, alto saxophonist Wessell "Warmdaddy" Anderson, backed by a rhythm section featuring bassist Kengo Nakarmura, drummers Robert Rucker and Joe Farnsworth, and pianist, Eric Lewis. The material is what you would expect on informal set like this: A riffing romp through Thelonious Monk's "Green Chimney’s," two bouncy renditions of "Just Friends," and "What is This Thing Called Love," the enduring ballad, "You Don’t Know What Love Is," Charlie Parker's "Donna Lee," delivered at bop-speed, and Paul Barbarin's Crescent City chaser, "2nd Line." Add percussionist Orlando Q. Rodriguez's Latin tinges and brother Delfeayo's on-point production to Marsalis’s flawless flights, and you have a document that captures improvisation in the heat of performance, forged by the sacred give-and-take between the artist and the audience. --Eugene Holley, Jr.

Description: Pianist Steve Kuhn, bassist Eddie Gomez, and drummer Billy Drummond recorded this session for Venus, the Japanese label, that specializes in great recordings by great jazz pianists. The programme of nine tracks is almost exclusively made of tunes by the likes of Henri Mancini and Michel Legrand. Two originals by Steve Kuhn include the title track.

Review: Tenor saxophonist Joe Henderson (1937-2001) was the elliptical alternative to John Coltrane and Wayne Shorter when these sessions were recorded in 1969 on the Milestone label under Orrin Keepnews' production, with Miles Davis' sidemen: Herbie Hancock and Ron Carter on electric and acoustic piano and bass and drummer Jack DeJohnette. Their jazz-fusion sound is evident on the super-bopped "Afro-Centric" and the ostinato-anchored title track, which both featured the little-known trumpeter Mike Lawrence. The angular, radioactive blues "Isotope" and the lilting waltz "Black Narcissus," which debuted on this date, are two of the leader's compositional contributions to the jazz canon. The standard "Lazy Afternoon" and Ron Carter's darkly moody "Opus One-Point Five" are the only non-Henderson contributions. The last track, the pianoless, spontaneously-created "Foresight and Afterthought (An Impromptu Suite)," previews the groundbreaking trio recordings Henderson made for the Blue Note and Verve labels in the 1980s and '90s, when his genius was fully appreciated. --Eugene Holley, Jr.