Released in 1972, Talking Book is Stevie's fifteenth album and the second of five consecutive albums referred to as his "classic period." It is considered by many to be his greatest and most influentual album. A perfect blend of funk, rock, soft-rock, soul, gospel and smooth jazz. The popular appeal of the record destroyed the myth that R&B artists were incapable of creating music that could be appreciated by rock audiences. Remastered in 2010 by Audio Fidelity's Kevin Gray for HDCD, this truly is the definitive version, sounding tighter, crisper, smoother and more dynamic than any previous issue.

While there was no shortage of Nick Drake collections on the market by 2004, the options for Drake fans with high-end stereo systems and/or SACD players was pretty limited (that is to say non-existent) before the release of A TREASURY. A hybrid disc remastered in Super Audio stereo and surround sound, it offers 15 cuts from the Drake catalogue; considering that he only released three official albums between 1969 and his death in 1974, that's a healthy chunk of the British singer/songwriter's oeuvre.

Caricature is the ultimate set for Gilbert O'Sullivan fans. It is too bad that it was only in print for a short time, and only 2500 numbered copies were ever manufactured. It has all of the hits - notably Alone Again (Naturally), Matrimony, Clair, and many others - plus many great album gems. Included also are a few very early tracks recorded prior to the recording of his first album, which are well worth listening to. The set is now rather expensive if you can find it from a seller, but darn worth it.
Amazon reviewer

João Gilberto, aka The White Album (1973), is Gliberto's second eponymously titled record, featuring a hypnotic minimalist execution, and is widely considered to be his best album. With its sparse arrangements of acoustic guitar, minimalist percussion and a delicate, at times whispering vocal, one can imagine this is how Nick Drake might have sounded, had he originated from Brazil. A beautiful and essential addition for the serious jazz collector.

Three weeks after completing his meeting with Luiz Bonfa and only two days after the epochal Getz/Gilberto sessions, Stan Getz was back in the studio recording more bossa nova. Producer Creed Taylor was obviously striking while the iron was hot, getting in as many Brazilian sessions as he could, yet the quality of the music-making remained consistently marvelous. Continuing his practice of running through one star guitarist after another, this time Getz has Laurindo Almeida as the designated rhythm man, featured composer, and solo foil. The rhythm section is an authentically swinging mixture of American sidemen (including Steve Kuhn on piano and George Duvivier on bass) and Brazilian percussionists. Almeida didn’t like to improvise, so his solos stay close to the tunes, inflected with a perfectly matched feeling for the groove along with classical poise. Jobim’s “Outra Vez” is a particularly lovely example of Getz’s freedom and effortless lyricism contrasted against Almeida’s anchored embroidering. Sessions like these might have been seen as cashing in on the boom at the time, yet in the long view, one should be thankful that these musicians were recording so much cherishable material.

Following the peerless Getz/Gilberto album (which featured Girl From Ipanema) from a year before, Getz/Gilberto #2 holds its own with an appealing selection of fine jazz and bossa nova cuts. Unlike the first album’s seamless collaboration by Getz, João Gilberto, Astrud Gilberto, and Antonio Carlos Jobim, here Getz and João Gilberto turn in separate sets before uniting for a final set in this legendary live concert, recorded at Carnegie Hall in October of 1964.
Backed by a stellar quartet comprised of vibraphonist Gary Burton, bassist Gene Cherico, and drummer Joe Hunt, Getz turns in a sparkling performances on the seldom covered ballad Tonight I Shall Sleep With A Smile On My Face, while stretching out nicely on his original blues swinger Stan’s Blues. With the support of bassist Keeter Betts and drummer Helcio Milito, Gilberto displays his subtle vocal and guitar talents on a set of bossa nova favourites, including his own Bim Bom and Jobim’s Meditation. Required listening for fans of Latin Jazz.

Quo's fourth album, 1971's Dog Of Two Head has always been a favourite amongst hardcore fans, despite having some of the most poorly recorded drums in the band's entire recorded history. The drums have been restored here, using state-of-the-art drum replacement technology, duplicating John Coghlan's original rhythms hit for hit, and breathing new life into the old dog.

A comedic biopic focused on the life of fictional jazz guitarist Emmett Ray. Ray was an irresponsible, free-spending, arrogant, obnoxious, alcohol-abusing, miserable human being, who was also arguably the best guitarist in the world. We follow Ray's life: bouts of getting drunk, his bizzare hobbies of shooting rats and watching passing trains, his dreams of fame and fortune, his strange obsession with the better-known guitarist Django Reinhardt, and of course, playing his beautiful music.

Thirty-three at the time of this, his first recording as a leader, pianist Red Garland already had his distinctive style fully formed and had been with the Miles Davis Quintet for a year. With the assistance of bassist Paul Chambers (also in Davis' group) and drummer Art Taylor, Garland is in superior form on six standards, Charlie Parker's "Constellation" (during which he shows that he could sound relaxed at the fastest tempos) and his own "Blue Red." Red Garland recorded frequently during the 1956-62 period and virtually all of his trio recordings are consistently enjoyable, this one being no exception. ~ Scott Yanow

Woody Allen performed magnificently as a producer when he assembled musicians to play the music of "the world's second greatest guitarist," the character played by Sean Penn. The Dick Hyman Group, featuring Howard Alden on lead guitar and Bucky Pizzarelli on rhythm guitar, plays brilliantly throughout the film's soundtrack. Their guitar work is appropriately wondrous and amazing. Some examples of Alden in action can be found with "I'll See You In My Dreams" and "Sweet Georgia Brown", both up-tempo pieces that bring drive and energy to the movie. His performance is amazing during "Limehouse Blues/Mystery Pacific." The utter speed and flawless nature in Alden's and Pizzarelli's execution are a wonder to hear.

Possibly the best of Julian "Cannonball" Adderley's many releases, 1961's Know What I Mean? finds the alto saxophonist in a different setting. Usually found fronting hard-bop combos featuring his brother Nat on cornet, Adderley is here accompanied by pianist Bill Evans, bassist Percy Heath, and Modern Jazz Quartet drummer Connie Kay. In these more placid surroundings, Adderley showcases an entirely different side to his playing.

Solar (1962) has recently been remastered (again) for a planned Japanese limited edition issue on 16 June, 2010, and is currently available to buy on pre-order. This is the 1992 Original Jazz Classics issue, remastered by Gary Hobish, and is certainly one of the better-sounding remasters from the OJC series. Featuring some skilful electric jazz guitar work from Les Span, who also plays occasional flute on the record. With original liner notes by Ira Gitler.
Produced by Orrin Keepnews, recorded on 30 January, 1962.

How My Heart Sings! is a 1962 album by jazz musician Bill Evans, recorded at the same time as Moonbeams. Just as on Moonbeams, we are introduced here to new Evans originals, additions to a growing and impressive catalogue, like "Walking Up" and the exhilarating "Show-Type Tune" in which the pianist puts on his best Bud Powell hat, knocking off line after line of thrillingly executed runs. Add Earl Zindar's haunting title track, then a nod to Dave Brubeck on the two takes of the latter's "In Your Own Sweet Way" and How My Heart Sings! stands as the most varied Bill Evans set since his breakthrough Everybody Digs Bill Evans.

The superb pianist recorded this album, his second as a leader, in December 1958, more than two years after his debut. In between, of course, he was an integral part of Miles Davis's legendary sextet. Spurred by a rhythm section of bassist Sam Jones and drummer Philly Joe Jones, Bill Evans shows amazing versatility on these sides: his playing on "Minority," "Night and Day," and "Oleo" is surprisingly robust and even bluesy at times--certainly not adjectives usually associated with the cool pianist. He's delightfully playful on the midtempo "Tenderly." Then there are the slow, meditative numbers for which he's known, including three unaccompanied showcases. "Peace Piece," which was actually conceived merely as an introduction to Leonard Bernstein's "Some Other Time," is the most famous, but his reading of another Bernstein song, "Lucky to Be Me," is equally mesmerizing. Although the original record dropped it, the CD reissue does include a version of "Some Other Time," complete with the "Peace Piece" intro.
Marc Greilsamer

1957 was a prolific year for Red Garland. In addition to his duties as pianist in the Miles Davis Quintet, he also recorded a number of sessions as leader of his own group.
In addition to the basic trio of Garland (piano), George Joyner (bass), and Arthur Taylor (drums), the quintet included Donald Byrd (trumpet), and fellow Davis alumni John Coltrane (sax).
In the space of a relatively short period of time, they managed to record 16 tracks of various lengths, which were then split up into four albums. Soul Junction, All Mornin’ Long, High Pressure, and finally Dig It were released in staggered intervals over the course of the next few years.