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

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.

Cannonball Adderley1928年出生于美国佛罗里达州，于1975年逝世。Adderley是一位卓越的中音萨克斯演奏家，他的演奏粗纩豪放，热情洋溢，具有一种原始美。Adderley不仅是硬波普爵士乐中的重要人物，他还是同一时期另一个重要流派——Soul Jazz中举足轻重的人物。仅仅活了47岁的Adderley在爵士音乐史上，始终只受到少数有识之士的敬重，对大部分爵士乐迷而言，或许他只是一位流行乐匠，而很少体会到他大师级地位与影响力的一面。他的音乐风格带有蓝调的影响，虽然有时会因老式作风引起人们的批评，但在展露锋芒之时，却总让人惊讶于他对于爵士乐艺术的奉献和执着之深。Cannonball Adderley最大的贡献应该是他运用特别的节奏组合，赋予60年代Soul Jazz风格的本质确立。虽然有些人认为那只是商业手段的推波助澜，但仔细聆听同时期其它人作品，仍以Cannonball Adderley的最为精纯。
在服役前后，Cannonball曾担任高中音乐老师，并组团表演。后来受到萨克斯风手Eddie Vinson的鼓励，于1955年，在纽约录制他的第一张作品，与Paul Chambers与Kenny Clarke合奏。这时正巧Charlie Parker才过世不久，纽约之行Cannonball适时接替了这个空缺，并造成当地的震撼。接着，他和弟弟Nat Adderley合组一支五重奏，以节奏变换特性广受欢迎。即兴的独奏明显的受到Charlie Parker的影响，但却没有Charlie那种刻意引人注目的声调。在节奏方面，亦呈现同时期Eddie Vinson和Louis Jordan的特有韵味，毫无拘泥之意。在综合这些特点之后， Cannonball经常在经营旋律时长篇大作的冠以装饰音，让听者喘息难当。然而，这个偏好至今尚无人出其右。
Somethin' Else是张极具意义的唱片，由Miles Davis、Cannonball Adderley两人组成的铜管二人组搭配Art Blakey创意十足的爵士鼓敲击，当然还有Hank Jones优异的钢琴演奏。除了阵容之外，唱片中的编曲创意才是欣赏的重点，超越了硬咆哮的视野而扎实的展现出爵士乐之美，堪称是Adderley生平最优秀的一张专辑——很多评论家和爵士乐迷认为这是爵士音乐史上最伟大的专辑之一。(Many critics and jazz fans consider Somethin' Else to be among the greatest jazz albums of all time)
本专辑获得了《企鹅爵士指南》四星带花的满分评价（本来企鹅是三星为最高，2006后改为四星为最高），原始发行于1958年，此为1999年RVG Remastered版本。如果是音响器材的发烧友，可能就听过此专辑，因为这张专辑经常作为发烧碟出现在各种音响试听会上。
解释下：企鹅指南（也有翻译为企鹅评鉴）的三星评价体系，很多爱乐者都比较熟悉了。在企鹅的评价体系中，三星就表示在各个方面都很优秀的演绎和录音，也就是最高的评价。在少数CD前加上的Rosette，即俗称的“花”（Rosette原义为玫瑰形的装饰），实际上表示的是企鹅指南编者个人对某个录音的特殊喜爱，带有更加强烈的主观色彩。2006年开始出现了第一张四星带花的专辑《Spem in Alium》，之后一发不可收拾，现在四星带花成为企鹅指南的最高评价。

Full performer name: Art Blakey & The Jazz Messengers.
The Rudy Van Gelder Edition of MOANIN' includes an essay by Bob Blumenthal.
Art Blakey & The Jazz Messengers: Art Blakey (drums); Benny Golson (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass).
Producer: Alfred Lion.
Reissue producer: Michael Cuscuna.
Recorded at the Van Gelder Studio, Hackensack, New Jersey on October 30, 1958. Originally released on Blue Note (4003). Includes liner notes by Leonard Feather and Bob Blumenthal.
Digitally remastered using 24-bit technology by Rudy Van Gelder (Van Gelder Studio, Englewood Cliffs, New Jersey).
This is part of the Blue Note Rudy Van Gelder Editions series.
If you simply can only have one Art Blakey and the Jazz Messengers disc (and why would you stop there?), it absolutely must be MOANIN'. This 1958 Blue Note date is the cream of the early Messengers' studio sessions. The group of this period featured the wailing Lee Morgan (trumpet), the swinging Benny Golson (sax) and the soulful Bobby Timmons (piano) with longtime bassist Jymie Merritt by Blakey's side. All of the pieces fell into place here to create one of the most hard-swinging, blues-inflected records in jazz history.
Timmons' classic title cut sets the pace as it's laid-back call-and-response chorus and swinging bridge will get in your soul and start your head bobbing. Golson's bouncing "Are You Real" and the subtle "Along Came Betty" feature that golden Messengers ensemble sound that can't be matched as Blakey drives his men mercilessly. The most dynamic tracks, of course, are the drum feature "The Drum Thunder Suite," a Blakey tour-de-force, and the powerful "Blues March" featuring Art's signature shuffle groove. A delightful reading of the standard "Come Rain Or Come Shine" caps it all off. This is the one to get first.

Recorded：December 9, 1964
Studio：Van Gelder Studio, Englewood Cliffs
The John Coltrane Quartet[edit]
John Coltrane – bandleader, liner notes, vocals, tenor saxophone, soprano saxophone[40]
Jimmy Garrison – double bass
Elvin Jones – drums, gong, timpani
McCoy Tyner – piano
Additional personnel[edit]
Archie Shepp – tenor saxophone on alternate takes of "Acknowledgement"
Art Davis – double bass on alternate takes of "Acknowledgement"
Rudy Van Gelder – engineering and mastering
Bob Thiele – production and cover photo[41]
George Gray/Viceroy – cover design
Victor Kalin – illustration
Joe Lebow – liner design

Our Man in Paris is a 1963 jazz album by saxophonist Dexter Gordon. The album's title refers to where the recording was made, Gordon (who had moved to Copenhagen a year earlier) teaming up with fellow expatriates Bud Powell and Kenny Clarke, both Parisian residents, and native Parisian Pierre Michelot. Powell, Clarke and Michelot, under the name The Three Bosses, had played together often in Paris since Powell moved there in 1959.
The album was remastered by Rudy Van Gelder in 2003 and released as part of Blue Note's RVG Edition series.

The Allmusic review by Michael G. Nastos awarded the album 3½ stars stating "One Flight Up stands as a testament to Dexter Gordon's viability as a bandleader and teammate, while his individualism is somewhat sublimated. It's a good listen to digest all the way through, especially if you are as patient as the performers, who have a lot to say".

1956 年 10 月 Sonny Rollins 在 Prestige 旗下錄製名為 Rollins Plays for Bird 的專輯 (右圖),共收錄三首歌,包括 I've Grown Accustomed to Your Face, Kids Know 與 7 首 Charlie Parker 的歌曲連串成一曲的 Bird Medley.
這張專輯有兩個美中不足的地方 : 第一是這三首歌只有 Bird Medley 一曲與 Charlie Parker (Bird 是他的綽號) 有關 ; 第二是只有 Kids Know 一曲是 Sonny Rollins 自己的歌.
雖然有這兩個小缺點, Rollins Plays for Bird 專輯卻還是獲得 All Music 四星的高評價,而且這張專輯一再重新發行,可見其受到歡迎之程度.參與錄音的樂手有 Sonny Rollins (薩克斯風), Kenny Dorham (小號), Wade Legge (鋼琴), George Morrow (貝斯) 與 Max Roach (鼓),這樣的明星組合無怪乎讓收藏者口水流個不停,順帶一提本專輯的一代鼓神 Max Roach 剛過世不久 (2007 年 8 月 16 日),作品顯然更添珍貴 !
Original recordings engineered by Rudy Van Gelder

Recorded：January 19, 1957
Art Pepper - Alto Saxophone
Red Garland - Piano
Paul Chambers - Bass
Philly Joe Jones - Drums

Personnel: Art Farmer (trumpet), Benny Golson (tenor saxophone), Bill Evans (piano).