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There are many Gene Ammons recordings currently available on CD in Fantasy's Original Jazz Classics, since the versatile tenorman was a longtime Prestige recording artist. Unlike his earlier jam sessions, this particular outing finds Ammons as the only horn, fronting a talented rhythm section (pianist Tommy Flanagan, bassist Doug Watkins, drummer Art Taylor, and Ray Barretto on congas). Ammons explores standards (including a near-classic version of "Canadian Sunset"), blues, and ballads in his usual warm, soulful, and swinging fashion. This is a fine outing by one of the true "bosses" of the tenor.

Jacintha is a Singaporean jazz singer/torch singer and stage actress who has been well-known in parts of the Asia-Pacific region since the '80s and has been increasing her exposure in North America since the late '90s. Jacintha has never been the type of jazz artist who goes out of her way to be abstract, difficult, or complicated; her work has been quite accessible and easy to absorb, drawing on direct or indirect influences that have included Julie London and Shirley Horn as well as Brazilian star Astrud Gilberto. Jacintha has long been fluent in English. Her visibility in the United States and Canada started to increase in the late '90s, when she began working with producer Ying Tan and started recording for the Los Angeles-based Groove Note label. Jacintha's first Groove Note release, Here's to Ben: A Vocal Tribute to Ben Webster, was recorded in 1999 – and that album marked the first time that a Jacintha album was widely distributed in North America.

The most unusual aspect to this Ernie Watts recording is that the great tenor is joined by a two-bass quartet. Eddie Gomez on acoustic and Steve Swallow on electric blend together quite well, are featured in a delightful version of Oscar Pettiford's "Tricotism" and (with pianist Geri Allen and drummer Jack DeJohnette) keep the accompaniment consistently stimulating. Ernie Watts is in top form throughout this fine modern mainstream date, playing with both passion and lyricism on a variety of standards and originals (which, in addition to four songs from the leader, include one apiece from DeJohnette and Swallow). There is just enough variety to keep the proceedings from ever getting predictable, making this one of Watts' finest sessions.

This live set is notable for teaming guitarist Wes Montgomery and the Wynton Kelly Trio (comprised of pianist Kelly, bassist Paul Chambers, and drummer Jimmy Cobb) with the fiery tenor of Johnny Griffin. As with the OJC release, six selections (highlighted by "Blue 'n' Boogie" and Montgomery's "S.O.S.") are augmented by "Born to Be Blue" and a pair of alternate takes.

Tom Coster's more commercial albums (such as Gotcha!!) were far from bad, and certainly had more soul and integrity than so much of the homogenized drivel labeled smooth jazz. But even so, they failed to adequately demonstrate just how adventurous and commanding a soloist and composer he can be. Like Let's Set the Record Straight and The Forbidden Zone, From the Street is a gutsy, hard-edged and uncompromising fusion date defined by its passion, complexity and spontaneity. Instead of avoiding the cerebral, Coster thrives on it. The Santana graduate has plenty of room to let loose and blow, as do such inspired sidemen as tenorist Michael Brecker and his disciple Bob Malach. And Dennis Chambers' intense drumming is superb throughout this fine and often abstract jazz/rock/funk CD.

In the vein of many a smooth West Coast jazz outing, this 1958 disc finds original cool stylist Getz paired with vibraphonist Cal Tjader on a very enjoyable selection of jazz standards and Tjader originals. The lineup includes pianist Vince Guaraldi, guitarist Eddie Duran, bassist Scott La Faro, and drummer Billy Higgins (this was one of the earliest record dates for either La Faro or Higgins, both of whom were playing with Getz at San Francisco's Black Hawk in between recording sessions). Guaraldi's spry "Ginza Samba" kicks thing off with nimble and imaginative statements by all the soloists…

Norman Granz's idea to match Zoot Sims' lyrical, swinging tenor sax with Johnny Mandel's equally arresting compositions was a masterful one. Sims' tart, alternately lush and furious solos were wonderfully spotlighted on such tunes as "Cinnamon and Cloves," "Emily" and "Zoot." The six-tune session also contains effective piano solos from Mike Wofford. The date's tour-de-force was its final selection, the wonderful "Low Life," which Sims probed, illuminated and ultimately redefined via his solo.

A masterpiece of Japan’s longtime Top Combo "Big 4" since 1953. Hidehiko "Sleepy" Matsurmoto: tenor sax and flute, Hideo Ichikawa: piano and electric piano, Takashi Mizuhashi: bass, and George Kawaguchi: drums.

As is often the case with an artist as prolific as John Coltrane, not every release can be considered as essential. Black Pearls seems a bit ambiguous when placed in a more historical context. It was only three days later that Coltrane participated not as a leader, but rather a member, of the Miles Davis Sextet that recorded "Stella By Starlight" and "On Green Dolphin Street." There is an obvious disparity between these three mostly improvised and lengthy jams and the Davis session. This is in no way to insinuate that Coltrane's performance is anything less than par. Black Pearls indeed captures Coltrane at the height of perfecting the intense volley that would garner the name "sheets of sound"…

McClain pours out his soul, but this album lacks the power evidenced on Give It Up to Love. The problem lies not with McClain, but with some of his supporting musicians. The closest cohesion exists between McClain and the musician on the title track, while "Who Made You Cry" has McClain sounding sympathetic and helpful to someone's plight, expertly complemented by Kevin Barry on guitar. However, the horn section extenuates the problems by cluttering up the arrangements and detracting from McClain's performance, while the Hammond B-3 lacks a nimble, crisp feel, and at times sounds buried in the mix.