Remastered reissue in a digipak. Originally released in 1959. Contains the songs 'Am I Blue', 'Tell Me You'll Wait For Me', 'Indeed I Do' & 'Come Rain Or Come Shine'. Warner. 2005.

Brilliant Corners is a studio album by American jazz musician Thelonious Monk. It was his third album for Riverside Records and the first, for this label, to include his own compositions. The complex title track required over a dozen takes in the studio, and is considered one of his most difficult compositions

In the Wee Small Hours is the ninth studio album by American vocalist Frank Sinatra. It was released in April 1955 on Capitol Records, produced by Voyle Gilmore with arrangements by Nelson Riddle. The songs on the album deal with themes such as loneliness, introspection, lost love, failed relationships, depression and night-life. As a result, In the Wee Small Hours is generally regarded as one of the first concept albums. The album's cover artwork reflects these themes and portrays a reflective-looking Sinatra on an eerie and deserted street awash in blue-tinged street lights. , Sinatra would successfully continue the "concept" formula with later albums such as Songs for Swingin' Lovers! and Only the Lonely. He had been developing the idea since 1946 with his first album release, The Voice. In the Wee Small Hours was issued as two 10-inch LP discs, and also as one 12-inch record LP, making it one of the first of its kind. It was also issued as four four–song 45-rpm EP discs sold in cardboard sleeves with the same cover as the LPs, not in paper covers like 45-rpm singles. (See Gramophone records for explanations of these terms.)
The album was a commercial success, reaching number 2 on the US charts where it stayed for 18 weeks, being Sinatra's highest charting album since his 1947 release Songs by Sinatra. As of 2002 it has been certified Gold by the RIAA, selling over 500,000 units. The album was also a critical success, and is listed as the third most acclaimed album of the 50s. Rolling Stone called it the 101st greatest album of all time.

Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate acccessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin, trombonists Jimmy Knepper and Willie Dennis, pianist Horace Parlan, and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus' greatest, most emotionally varied set of compositions. At least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune "Better Get Hit in Yo' Soul," taken in a hard-charging 6/8 and punctuated by joyous gospel shouts. "Goodbye Pork Pie Hat" is a slow, graceful elegy for Lester Young, who died not long before the sessions. The sharply contrasting "Fables of Faubus" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated "Boogie Stop Shuffle" is bursting with aggressive swing, and elsewhere there are tributes to Mingus' three most revered influences: "Open Letter to Duke" is a suite of three tunes; "Bird Calls" is inspired by Charlie Parker; and "Jelly Roll" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. It simply isn't possible to single out one Mingus album as definitive, but Mingus Ah Um comes the closest.