"A most immaculately hip aristocrat," Lord Buckley was the epitome of comedy cool; a onetime vaudeville performer and a hulking ex-lumberjack, he was a comic philosopher, a bop monologuist whose vocalese fused the rhythms and patois of the street with the arch sophistication of the British upper-crust to create verbal symphonies unparalleled in their intricacy and dexterity. A comedian who didn't tell jokes and a word-jazz virtuoso riffing madly on the English language, Buckley combined the frenetic intensity of Beat poetry with the lessons and moral heft of Biblical tales and historical discourse; holding court over the "hipsters, flipsters and finger-poppin' daddies" of the postwar era, he was a true visionary, the original rapper.

A guide for the U.S. tourist arriving in Havana in 1930, courtesy of the Vaccaro Shipping Line. Includes a detailed street map of Havana, advice on hotels, thieves, speakeasys, street cars, shopping, etc, and even advice on how to use Cuban wax matches so that you don't burn a hole in your suit.

Hugh Quarshie narrates the story of one of the greatest jazz saxophonists of all time. Charlie Parker was a pioneer of the postwar bebop school which changed the face of jazz forever, before his tragic death at the age of 34. Contributors include Jimmy Heath, James Moody, Peter King, Slide Hampton, Phil Woods and Mitch Miller.

Grant Green was just established as a leader by 1961 when these recordings were made, but this is not the typical Blue Note date that stamped his individuality in following years. Though Green is credited as the leader, those responsibilities are accepted by tenor saxophonist Frank Haynes, one of the most obscure but tastiest players on his instrument this side of Joe Henderson and Stanley Turrentine. The cool, spacious, thoughtful and unhurried sound of Haynes dominates this recording, as Green barely comes up for air on solos or the occasional joint melody line. Billy Gardner, better known as an organist, plays beautifully and with feeling on the piano, while bassist Ben Tucker and the great drummer Dave Bailey team up to provide the perfect, steady rhythmic foundation so essential to great mainstream jazz expressionism.

This 1989 CD issue compiles all known sides cut during a July 26, 1956, session led by Chet Baker (trumpet) and Art Pepper (alto sax). Keen-eyed enthusiasts will note that this particular date occurred during a remarkable week -- July 23 through July 31 -- of sessions held at the behest of Pacific Jazz label owner and session producer Dick Bock at the Forum Theater in Los Angeles. The recordings made during this week not only form The Route, but three other long-players as well: Lets Get Lost (The Best of Chet Baker Sings), Chet Baker and Crew, and Chet Baker Quintet at the Forum Theatre. Likewise, these were the first sides cut by Baker since returning from his triumphant and extended stay in Europe...

In 1964, trumpeter Chet Baker returned to the United States after five sometimes-traumatic years spent overseas (which included a long stay in an Italian jail for drug abuse). Baker recorded prolifically during his first 14 months back in the States, including a set for Colpix, two records for Limelight, and, in a busy three-day period, five albums for Prestige titled Groovin', Comin' On, Cool Burnin', Smokin', and Boppin' With the Chet Baker Quintet…

Readings by Jack Kerouac on the Beat Generation was the culmination of the author's short-lived recording career, a solo performance that transcends poetry and music — it's literally spoken jazz, the artist improvising freely on the printed text of his own work in front of him. Produced by Bill Randle, it was Kerouac's most musical performance, despite the fact that the recording contained only his voice and no accompaniment, using his voice and language the way a saxophonist might improvise on a particular melodic line or riff. He's spellbinding throughout, intense, focused, and even subtly changing voices with the work itself. - Allmusic.com

Another pairing (see 'September Song')... with the great Duke Jordan. It has none of the magic of 1979's 'No Problem', but there are some good moments. The tracks on Star Eyes find Chet playing some long, burning solos.

This recording emphasizes (although does not stick exclusively to) the blues. The sextet has impressive players (flutist Herbie Mann, Charlie Rouse on tenor, guitarist Kenny Burrell, pianist Mal Waldron, bassist George Joyner and drummer Art Taylor) and the material (originals by Waldron, Burrell and Calvin Massey in addition to a brief "Jumpin' With Symphony Sid") is reasonably challenging but the musicians never really come together as a group. The straightahead jam session has its strong moments and, as long as one keeps their expectations low, the music will be enjoyable despite the lack of major sparks.

Much has been expected of Bireli Lagrene. He was playing Django Reinhardt's repertoire at age 8. By the time he was 12, he was touring Europe and being hailed as the next Django. He decided to take that Gypsy style in a jazz and jazz fusion direction. Over the years, he has played with many great musicians. On Inferno, he finds himself with stars of the second wave of fusion that hit the beaches in the 1980s.

Oliver Nelson's debut as a leader found him at the age of 27 already a distinctive and skilled tenor-saxophonist. For this quintet set (reissued on CD in the OJC series), Nelson teams up with the veteran trumpeter Kenny Dorham, pianist Ray Bryant, bassist Wendell Marshall and drummer Art Taylor for four of his originals plus the ballads "Passion Flower" and "What's New." Although none of these Nelson tunes caught on, this was an impressive beginning to a short but productive career and gives one a strong example of the multi-talented Nelson's tenor playing. - AMG

This jazz collector's gem captures a set by two tragic, self-destructive yet historically immortal giants at a club in Inglewood, CA, June 16 1952. As a bonus, the pair are joined by the late Sonny Criss, one of the best and most under-recognized Parker-influenced alto players. Parker was at this time an established musician, and Baker was just out of the Army, on his way up. The concert, which is excellently recorded with sharp, crisp detail, gives everyone a chance to stretch out beyond the confines of a recording studio.

Made in November 1987, only a few months before his death, this remarkable set with Germany's NDR Big Band is one of the very best recordings of Chet Baker's whole career. There were times in his later years when his trumpet playing sounded distinctly shaky and uncertain, but there is no hint of weakness here. He spins long, delicate lines of melody with that inimitable tone, at once bright and melting, and glides effortlessly through the surrounding orchestral textures. The nine pieces are a judicious mixture of classic American songs by Cole Porter, Irving Berlin etc and modern jazz standards, arranged with great delicacy by Jorg Keller and Horst Muhlbradt. Only in Europe would it have been possible to produce an album like this because only European radio stations maintain permanent orchestras of this quality. Chet Baker clearly relished the opportunity and rose magnificently to the occasion. - Amazon.com

This is the second of three volumes covering the 1953-1954 quartet led by Chet Baker (trumpet). The contents of this single disc are split evenly between a short, five-song set from the Santa Cruz Civic Auditorium in July of 1954 and the first 25 (give or take a few) minutes of an August 1954 performance at the infamous Tiffany Club in Los Angeles -- the balance of which is available on Quartet Live, Vol. 3: My Old Flame...