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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.

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.

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.

The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. This re-release appends three bonus tracks, all of them alternate takes.

The timeless Way out West established Sonny Rollins as jazz's top tenor saxophonist (at least until John Coltrane surpassed him the following year). Joined by bassist Ray Brown and drummer Shelly Manne, Rollins is heard at one of his peaks on such pieces as "I'm an Old Cowhand (From the Rio Grande)," his own "Way out West," "There Is No Greater Love," and "Come, Gone" (a fast stomp based on "After You've Gone"). The William Claxton photo of Rollins wearing Western gear (and holding his tenor) in the desert is also a classic. This re-release appends three bonus tracks, all of them alternate takes.

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.

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.

Again working with his longtime rhythm section of George Tucker (bass) and Al Harewood (drums), Horace Parlan manages to On the Spur of the Moment make distinctive by emphasizing the rhythmic side of his hard bop. Tenor saxophonist Stanley Turrentine and trumpeter Tommy Turrentine help give the quintet a bluesy edge, which the band exploits to an appealing effect throughout these six, mostly original, compositions. There are a few ballads, and even when things are at their hottest, Parlan's understated playing is a cue for the group to keep it tasteful, but that relaxed atmosphere is part of the reason why On the Spur of the Moment is another winning effort from the underrated pianist.

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, which is widely spoken in Singapore and is one of its four official languages along with Malay, Mandarin Chinese (as opposed to Cantonese Chinese), and Tamil.

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.