The Haunting (1963)

He never had a hit in the U.S., and he was only briefly a star in the U.K., but Dave Berry recorded a whole lot of material in the mid-'60s. This double CD only covers about the first half of his output for Decca between 1963-1970, yet contains no less than 57 tracks, making it likely to be the most definitive collection of his work during this era. Every one of his British hits (except 1966's "Mama") is here, along with all the non-hits, B-sides, LP tracks, and rarities from EPs. There are even five cuts that only appeared on either the Rhythm and Blues compilation LP or the live At the Cavern album, as well as two previously unissued April 1963 recordings ("Easy to Cry" and "Tongue Twistin'") produced by Mickie Most. Load on lengthy liner notes with firsthand quotes from Berry and many cool vintage period illustrations, and you have a package that's hard to beat for comprehensiveness…

This is a little-known and rather melancholy set, virtually Billy Strayhorn's only recording away from the world of Duke Ellington. The focus is totally on Strayhorn's piano throughout his interpretations of ten of his compositions (including "Lush Life," "Take the 'A' Train," and "Something to Live For"). Three selections have the Paris Blue Notes adding sparse wordless vocals, two other numbers add some quiet playing by the Paris String Quartet, and bassist Michel Goudret is on five of the ten selections (including one apiece with the strings and the voices). "Strange Feeling" and "Chelsea Bridge" are taken as unaccompanied piano solos. Of the ten songs, only "Just A-Sittin' and A-Rockin'" hints at happiness; otherwise, Strayhorn's melodic and concise playing is quite somber, peaceful in volume but filled with inner tension.

Bill Evans At Town Hall (1966). This LP is a superior effort by Bill Evans and his trio in early 1966. The last recording by longtime bassist Chuck Israels (who had joined the Trio in 1962) with Evans (the tastefully supportive drummer Arnold Wise completes the group), this live set features the group mostly performing lyrical and thoughtful standards. Highlights include "I Should Care," "Who Can I Turn To," and "My Foolish Heart." The most memorable piece, however, is the 13-and-a-half-minute "Solo: In Memory of His Father," an extensive unaccompanied exploration by Evans that partly uses a theme that became "Turn Out the Stars"…

Known for his mariachi-inspired easy listening sound, trumpeter Herb Alpert is one of the most successful instrumental performers in pop history. He is also one of the entertainment industry's canniest businessmen, having co-founded A&M Records – a label that ranks among the most prosperous artist-owned companies ever established – with partner Jerry Moss. Collection includes: The Lonely Bull (1962); South Of The Border (1964); Whipped Cream & Other Delights (1965); !!Going Places!! (1965); What Now My Love (1966); S.R.O (1966); The Beat Of The Brass (1968); Rise (1979); Fandango (1982); Bullish (1984); Keep Your Eye On Me (1987); Classics, Volume 1 (1987); Steppin' Out (Featuring Lani Hall) (2013); In The Mood (2014); Come Fly With Me (2015).

Recorded in Munich, Germany, in 1965, the three tracks that make up The Trance come from the same session that produced the invigorating Booker Ervin/Dexter Gordon tenor battles, Settin' the Pace. These remaining tracks feature Ervin's sole tenor on two of his compositions, the blues "Groovin at the Jamboree" and the haunting 19-minute title track, dedicated to the late bassist George Tucker. Also included is the standard "Speak Low," also clocking in at 19 minutes. Admittedly, tracks that long can get tiresome quickly in the wrong hands. Fortunately, Ervin's inspired exploratory tenor flights are consistently stirring, punctuated with piercing blues. The Trance delivers further documentation of Ervin's endless tenor inventiveness…