Walter Theodore "Sonny" Rollins is an American jazz tenor saxophonist who is widely recognized as one of the most important and influential jazz musicians. In a seven-decade career, he has recorded over sixty albums as a leader.

Part of the 'Masters Of Jazz: The History Series 1949-1969'. 20 bit digitally remastered.

Tina Brooks的專輯長年為樂迷們視為稀有珍品，其演奏風格不同於當時其他的薩克斯風手，即興樂句聽來內斂不張狂，並喜歡在主流架構的邊緣上游移，開放式的手法則充滿驚喜，值得玩味。
薩克斯風手 Tina Brooks 的照片總是留著八字鬍，嘴裡叼著煙，手上抱著樂器。Man 的很，但怎樣有個女生的名字！？原來這是個美麗的小誤會。小時候 Brooks 身材矮小，朋友們替他取了個「矮子布魯克斯」＜Tiny Brooks＞的綽號，後來不知怎樣 Tiny 變成了 Tina，出道後索性就叫自己 " Tina " Brooks。Brooks 的演奏天份人人稱讚，當時幾張作品都讓大家抱著「新一代薩克斯風巨星」準備降臨的期待。但 Brooks 的音樂壽命卻很短，原因無他，就是「天底下爵士樂手都會犯的錯」。他讓毒品毀了他的身體，三十歲之後就因為健康因素不再演奏，真正活躍的時間不過短短三年＜1958 ~ 1961＞，留下了四張個人專輯，《True Blue》、《Back to the Tracks》與《The Waiting Game》，四十二歲就過世了。
而最讓當代爵士樂迷翻來覆去的是 : Tina Brooks的專輯非常難找。不過四張專輯卻全是以「鑑賞家系列」＜Blue Note Connoisseur Series＞的名義限量發行＜該系列簡單說就是絕版許久的錄音得以探頭的少數出口＞。而本專輯《True Blue》更是叫樂迷望穿秋水數十載，美國的數位發行直到西元 1994 年才出土，很快絕版後直到今天才終於以 RVG 系列的名義重新發行。在國外爵士討論區的朋友會發現，論壇裡常有一個叫做「您最希望哪張專輯被重新發行」的主題，而討論串裡的回應這張專輯十之八九列名其中，足可見大家對它的期待，同時也為裡面的音樂內容增添了不少神秘色彩。於是，現在是揭開專輯神秘面紗的時候了。
True Blue 專輯裡除了 Tina Brooks 的次中音薩克斯風外，還有當時相當年輕的小號手 Freddie Hubbard，以及由鋼琴手 Duke Jordan、貝斯手 Sam Jones 與鼓手 Art Taylor 所組成的節奏組共五人演奏，是最標準的硬式咆勃爵士編制。音樂部分也是最純粹的硬式咆勃風，以五首 Brooks 的個人創作為主軸，外加一首標準曲“Nothing Ever Changes My Love for You”構成了專輯的血與肉。Brooks 的演奏風格不同於當時其他的薩克斯風手，他的即興樂句聽來內斂不張狂，並喜歡在主流架構的邊緣上游移，而開放式的即興手法則讓聽者難以去預料他的下一步。或者可以換個角度看，Brooks 即興的不可預測性或許是因為他仍在摸索方向，然而方向尚未固定，人卻遠去。

The Tokyo Blues is an album by jazz pianist Horace Silver released on the Blue Note label in 1962, featuring performances by Silver with Blue Mitchell, Junior Cook, Gene Taylor, and John Harris Jr.The Allmusic review awarded the album 4 stars.

Saxophone Colossus is one of Sonny Rollins' most acclaimed albums. Recorded in June 1956 and released in April 1957, it has been awarded a rare Crown by The Penguin Guide to Jazz, and is widely considered the masterpiece of his mid-1950s series of recordings for Prestige Records and one of the greatest albums ever issued on that label.

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

Conrad Yeatis "Sonny" Clark was an American jazz pianist and composer who mainly worked in the hard bop idiom.

Recorded April 18, 1957
Studio Van Gelder Studio, Hackensack, NJ
Idrees Sulieman – trumpet
John Coltrane – tenor saxophone
Tommy Flanagan – piano
Kenny Burrell – guitar
Doug Watkins – bass
Louis Hayes – drums

McKinley Howard "Kenny" Dorham (August 30, 1924 – December 5, 1972) was an American jazz trumpeter, singer, and composer. Dorham's talent is frequently lauded by critics and other musicians, but he never received the kind of attention or public recognition from the jazz establishment that many of his peers did.

When Horace Silver disbanded his quintet of six years in 1964, Blue Mitchell, Junior Cook and Gene Taylor decided to stay together and form the nucleus of the Blue Mitchell Quintet. The band took shape that summer with newcomers Chick Corea and Al Foster. Mitchell has learned wellfrom his former employer; for this debut album he kept the emphasis on consummahe ultra hip groove of the title tune to the now classic "Footprints," this is among the best.

Wayne Shorter: Tenor Saxophone
Herbie Hancock: Piano; Reggie Workman: Bass; Joe Chambers: Drums

出生於北海道平取町的爵士鋼琴演奏家福居良（Ryo Fukui），1970年無師自通學習鋼琴演奏，六年後便推出一鳴驚人的三重奏專輯《Scenery》，第二年再由原班人馬推出《Mellow Dream》，迅即奠定他在爵士樂圈的地位。

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.