Quincy Jones 192

John Pizzarelli, one of the most celebrated performers bringing popular standards to a new generation, pays homage to Frank Sinatra with the release of Dear Mr. Sinatra. Early in his career, Pizzarelli opened for Sinatra on tour. His father, the jazz guitar legend Bucky Pizzarelli, played on many of Sinatra's seminal recordings. Focusing on songs that were specifically written for 'Ol' Blue Eyes' and also featuring The Clayton- Hamilton Jazz Orchestra, Dear Mr. Sinatra is in many ways the most personal of all the Sinatra tributes available. Dear Mr. Sinatra, follows Pizzarelli's highly-acclaimed tributes to Nat King Cole (Dear Mr. Cole and P.S. Mr. Cole), Antonio Carlos Jobim (Bossa Nova) and The Beatles (John Pizzarelli Meets The Beatles).

Recorded live at the historic Village Vanguard in November, 1988, this spirited never-before-heard recording by clarinetist Eddie Daniels and pianist Roger Kellaway is a vital addition to the Daniel/Kellaway discography. It’s ‘not only a fascinating musical snapshot of Daniels' early years playing with Kellaway, it introduces the larger jazz world to rare compositions written by the two’ (John Murph). Audiophile Audition online magazine states: “This recording is a pleasure to audition. It has four masters of their craft sharing their prowess. Eddie is often center stage, but this dream rhythm section more than holds their own…

A sweet blend of jazz and soul from Patti Austin – and a set that's a bit different than some other CTI albums of the 70s given that it was recorded down south, at deep soul powerhouse Muscle Shoals! The sound is surprisingly rootsy on a few numbers and warmly jazzy on others and Patti's still got all the polish she picked up from her years with Quincy Jones, but she's also stepping out a bit more as an artist with a stronger emotional palette. Austin works with some great original material that includes the tracks "(Ooh-Wee) He's Killing Me" and "I Can't Stop" as well as surprising covers, like Squeeze's "Another Nail From My Heart", Isaac Hayes' "Body Language", and Bob Seeger's "We've Got Tonight".

In the Land of Hi-Fi with Julian Cannonball Adderley is the fourth album by jazz saxophonist Cannonball Adderley, and his third released on the EmArcy label, featuring a nonet (six horns, three rhythm) with Nat Adderley, Jerome Richardson, Ernie Royal, Bobby Byrne, Jimmy Cleveland, Danny Bank, Junior Mance, Keter Betts, and Charles "Specs" Wright.

Universally regarded as the most accomplished flautist in jazz, Hubert Laws has done much more than build a bridge between jazz and classical music; he has melded his diverse influences seamlessly with a fully singular approach. Afro-Classic includes brilliant interpretations of Bach, Mozart and James Taylor plus a gorgeous version of Theme from Love Story. This timeless classic by the genre-busting poll-winning flautist features Bob James, Ron Carter, and incredible arrangements by Don Sebesky.

The New Continent is an album by trumpeter Dizzy Gillespie's Big Band featuring performances arranged and composed by Lalo Schifrin and conducted by Benny Carter.

"Sinatra at the Sands" is a live album by Frank Sinatra accompanied by Count Basie and his orchestra, and conducted and arranged by Quincy Jones, recorded live in the Copa Room of the former Sands Hotel and Casino in Las Vegas in 1966. It was Sinatra's first live album to be commercially released, and contains many definitive readings of the songs that are most readily associated with Sinatra.

A sweet blend of jazz and soul from Patti Austin. Austin works with some great original material that includes the tracks "(Ooh-Wee) He's Killing Me" and "I Can't Stop" as well as surprising covers, like Squeeze's "Another Nail From My Heart", Isaac Hayes' "Body Language", and Bob Seeger's "We've Got Tonight". The sound is surprisingly rootsy on a few numbers and warmly jazzy on others and Patti's still got all the polish she picked up from her years with Quincy Jones, but she's also stepping out a bit more as an artist with a stronger emotional palette.

"Plenty, Plenty Soul" is vibraphonist Milt Jackon's 1957 studio album under Atlantic Records. The record features a nine-piece group that is highlighted by the contributions of the exuberant altoist Cannonball Adderley and tenor-saxophonist Lucky Thompson. With pianist Horace Silver helping out, these all-star dates still sound fresh and enthusiastic decades later.

Like swing guitarist Charlie Christian, Clifford Brown was incredibly influential for someone who died so young. The Fats Navarro-minded trumpeter was only 25 when a car accident claimed his life in 1956, but his influence remained long after his death – Freddie Hubbard, Lee Morgan, Woody Shaw, Donald Byrd, and Carmell Jones were among the many trumpet titans who were heavily influenced by Brown.