Jazz | Fusion 352 Items

Donald Byrd was off to the races after joining Blue Note in 1958 and had fully hit his hard bop stride by 1961 with his excellent album "Royal Flush". Joining the trumpeter was a state-of-the-art rhythm section featuring Herbie Hancock on piano, Butch Warren on bass, and Billy Higgins on drums plus Byrd’s frequent collaborator Pepper Adams on bari sax.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

One of the great line-ups of Art Blakey & The Jazz Messengers coalesced when saxophonist Wayne Shorter joined trumpeter Lee Morgan, pianist Bobby Timmons, and bassist Jymie Merritt, as heard on the 1960 album "A Night In Tunisia". Opening with a fiery version of Dizzy Gillespie’s famous piece, the rest of the set showcased new bandmember originals.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Why you'll love it...
During the pagan hours of an otherwise uneventful Harlem pre-dawn in 1963, Gary Bartz glimpsed a galactic mystery that conventional aeronautics could not explain. Only a few weeks prior, the nascent alto saxophone virtuoso had acquired his first telescope to pursue a newfound passion for astronomy. The purchase was already yielding dividends.

The recent Juilliard graduate’s fascination with the heavens began with astrology, but the then 22-year-old quickly realized that those celestial sketches were just photographs of the sky as captured during a specific orbit. Why bother with the rough blueprint when you could witness the entire electromagnetic spectrum in its full glory?

Guitarist Kenny Burrell debuted on Blue Note Records in 1956 and over the following seven years made a series of excellent albums for the label that culminated with his masterwork Midnight Blue. Recorded in 1963, the album waded deep into the blues, conjuring an alluring late-night vibe with a profoundly soulful cast including tenor saxophonist Stanley Turrentine, bassist Major Holley, Jr., drummer Bill English, and Ray Barretto on congas.
Burrell originals including “Chitlins con Carne,” “Midnight Blue,” “Saturday Night Blues,” and the stunning solo guitar piece “Soul Lament” set the tone for this timeless classic adorned by one of the all-time great Reid Miles cover designs.

Sharps and Flats, led by Nobuo Hara, has been a driving force in Japan's big band jazz scene with its diverse activities and distinctive musicality. Among the many works produced throughout their long career, 'Little Giant' stands out as one of their most iconic albums. Originally released in 1970 as part of Victor's Japanese Jazz series, this album is notable for the participation of renowned composers and arrangers such as Masao Yagi, Kiyoshi Yamaya, Norio Maeda, and Masahiko Sato. In addition to their original compositions, the album features unique arrangements of pieces by Oliver Nelson, who had a close connection with Sharps and Flats.

The album's intricate and adventurous arrangements, combined with the band's high-level performance quality, are truly remarkable. You'll be captivated by the hipness of "Little Giant," the strength of "Dark Horse," the cutting-edge sound of "Orbit 8:11," and the sophistication of "Flexibility." This dynamic performance, marked by a perfect balance of tension and relaxation, showcases the full potential and allure of Sharps and Flats. This album is a masterpiece that brings out the best in the band.

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.
The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages.

Even by the high-water marks set by Herbie Hancock’s tremendous 1960s Blue Note output, 1965’s Maiden Voyage remains one of the pinnacle artistic achievements of the great pianist’s career. Hancock is joined here by his Miles Davis Quintet bandmates Ron Carter on bass and Tony Williams on drums, along with Freddie Hubbard on trumpet and George Coleman on tenor saxophone. The quintet embarks on an oceanic exploration of five original Hancock compositions, several of which have since become enduring standards of the jazz lexicon including the title track, “Eye of the Hurricane,” and “Dolphin Dance.”

Why you'll love it...
Nina was singular in both her ability and the music she made. She will always be one of the best to ever do it. "Nina Simone Sings the Blues' comes on 180 gram blue vinyl.

Time and troubles seem to melt away during the fifteen enrapturing minutes of “Idle Moments,” the opening track of Grant Green’s sublime 1963 album of the same name. As the piece unhurriedly unfurls all the unique colours of the ensemble present themselves with Green’s soulful guitar joined by Duke Pearson’s elegant piano, Bobby Hutcherson’s crystalline vibraphone, Bob Cranshaw’s reassuring upright bass, Al Harewood’s subtle drums, and Joe Henderson’s magnificent tenor saxophone. The pace quickens for the rest of this tremendous set including the nimble Green original “Jean de Fleur,” a bluesy take on John Lewis’ MJQ standard “Django,” and a driving performance of Pearson’s original “Nomad.”

After appearing on Blue Note albums by Ike Quebec, Hammond B3 organist Freddie Roach made his own run of soul jazz classics for the label including the standout 1963 date 'Good Move' featuring Blue Mitchell on trumpet, Hank Mobley on tenor saxophone, Eddie Wright on guitar, and Clarence Johnston on drums.

BLUE NOTE TONE POET EDITION: Mono, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a Gatefold sleeve with deluxe tip-on jacket.

Recorded in 1965 at Rudy Van Gelder's studio in New Jersey, Roland Kirk's album Rip, Rig and Panic finds him teamed with the most awesome rhythm section he ever recorded with: pianist Jaki Byard, bassist Richard Davis, and drummer Elvin Jones. It received a 5 stars rating on AllMusic, with reviewer Thom Jurek stating that "Rip, Rig, and Panic may be pre-Rahsaan Roland Kirk's greatest outing. Kirk and his quartet moved through a series of musicological changes that defined him as an artist at the time. Five of the seven compositions are his, and reach through each of the phases that Kirk was interested in integrating into his compositional and improvisational voice. Positively smashing."

Reissue of the 5th studio album by Brazilian jazz legend Antônio Carlos Jobim. Considered one of Jobim’s best albums, this masterpiece peaked at #5 on the Billboard Jazz Albums chart. It features a plethora of star sidemen, such as Dom Um Romão, Claudio Slon, Jerome Richardson, Ron Carter & Urbie Green, among others, as well as superb arrangements by Claus Ogerman.

Bobby Hutcherson’s cutting-edge 1969 session "Medina" found the vibraphonist with a remarkable band featuring Harold Land on tenor saxophone & flute, Stanley Cowell on piano, Reggie Johnson on bass, and Joe Chambers on drums. The set presents original compositions by Hutcherson, Cowell, and Chambers.
BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a single sleeve with deluxe tip-on jacket.

In the 1950s, the Big Four, led by George Kawaguchi, was a pioneering force in Japan's modern jazz scene, gaining immense popularity. Despite changes in its lineup, the group continued to make a significant impact on Japanese jazz. The album 'George & Sleepy' was originally released in 1969 as part of Victor's Japanese Jazz series. While the original liner notes described it as an attempt to recreate the nostalgia of the George Kawaguchi Big Four, this album is far from just a retrospective. Tracks like "Lover" and "Charade" nostalgically evoke the classic Big Four, offering pure enjoyment. Meanwhile, the album also impresses with more contemporary elements, such as the refined groove of "Tuesday Samba" and the exotic, beat-driven "Vietnam." This thrilling album masterfully showcases the timeless appeal of jazz, blending the past and present through the deep, skillful performances of these jazz veterans.

Donald Byrd’s 1967 album Slow Drag was one of the last pure hard bop records the trumpeter would make before his music began evolving towards fusion. Byrd flies high on this gratifying set featuring alto saxophonist Sonny Red, pianist Cedar Walton, bassist Walter Booker & drummer Billy Higgins.



BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.

The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages..

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

In 1969, Sahib Shihab and five leading members of the Clarke-Boland Big Band, including Francy Boland, Jimmy Woode, Kenny Clarke, and Fats Sadi, recorded this album for West Germany's Vogue label. The album features the exquisite Latin jazz track "Seeds," the waltz number "Peter's Waltz" dedicated to his son, and the modal piece "Mauve." Each track is highly stylish and sophisticated, showcasing a pinnacle of European jazz that could only be achieved by this exceptional lineup.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

The album "Night Lights" by American jazz saxophonist Gerry Mulligan was released in 1963, at the height of the bossa nova boom of the early 1960s. Laid-back rhythms and lyrical compositions leave room for improvisations and charming arrangements of signature solos by his fellow musicians - in addition to three original compositions, there are relaxed versions of Chopin's "Prelude in E Minor" and the Brazilian anthem "Morning of the Carnival" from Luiz Bonfa's "Black Orpheus".



Verve Acoustic Sounds Series: mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve, Gatefold Sleeve.

Reissued on vinyl for the first time! A milestone of the Black music movement, originally released on Vault in 1969. The debut album of Elaine Brown was arranged by piano player amd composer Horace Tapscott, conducting the Californian Pan-Afrikan Peoples Arkestra. A true political manifesto, the album is an accurate meeting between black poetry and spiritual jazz. After her debut Elaine went to release an eponymous second album on Motown. Elaine Brown is an African American activist and a former leader of the Black Panther Party - Minister of Information and Chairman.

An avant-garde masterpiece, a vocal-instrumental suite, a work of collective improvisation, directly addressing the racial and political issues of it’s day, We Insist! Max Roach’s Freedom Now Suite is one of the most important artistic statements of Civil Rights Movement and one of the most groundbreaking jazz albums of all time. Max Roach was already almost a decade into his career as one of the most influential jazz drummers and composers when he teamed up with lyricist Oscar Brown Jr. to collaborate on a piece they planned to perform at the centennial of the Emancipation Proclamation in 1963. Recorded just months after the February 1960 Greensboro sit-ins, the album stands as an early musical testament to the burgeoning rage, anger and passion that would take the Civil Rights Movement from its early victory in Montgomery in 1955 into a future that would dramatically alter race relations in the United States.

The second release from the newly launched New York City based jazz label Candid Records, and produced by label co-founder, famed music critic and social activist, Nat Hentoff, the album is a bold statement, focused on civil injustices in black history ranging from slavery to contemporary racial prejudices, and featuring some of the finest jazz musicians ever, including Abbey Lincoln, Coleman Hawkins, Eric Dolphy, Booker Little, and Michael Babatunde Olatunji.

The five movements of the work are organized as a historical progression through African-American history, a shape similar to the one in Duke Ellington’s Black, Brown and Beige. The Freedom Now Suite moves from slavery to Emancipation Day to the contemporary civil-rights struggle and African independence.

The LP includes extraordinary liner notes written by Hentoff himself, giving a context and insight that adds to the experience of hearing these magnificent performances.

180g

Here is one of the musical giants of the 20th century, poised on the precipice of greatness. Between the spring of 1957 and the winter of 1958, during which time "Lush Life" was recorded, the music of tenor saxophonist John Coltrane (1926-1967) was developing in giant steps, thanks in great part to a six-month 1957 stint with Thelonious Monk that had much to do with sharpening Coltrane’s harmonic conception and torrential attack.
"Lush Life" contains Coltrane’s first recordings as sole leader, his initial date fronting a pianoless trio, and one of his first extended readings of a ballad, Billy Strayhorn’s resplendent title track. We also hear him at the helm of a quartet and quintet, featuring pianist Red Garland, with trumpeter Donald Byrd, bassist Paul Chambers and drummer Louis Hayes added to “Lush Life”. Coltrane handles the tune’s delicate complexities with infinite style and finesse.
Coltrane and jazz would never be the same.

Sourced From The Original Master Tapes; Out of print since the 1960s

Now joining Jackpot Record's ever-expanding collection of Martin Denny re-issues is the hypnotic "visual sound" of Exotic Percussion, which has not been on vinyl since its original release in 1961.

His production on Exotic Percussion is ambitious, adventurous, and fascinatingly futuristic, especially when a tumbler with ice was still the preferred way to let loose. Xylophones and chimes swim from ear to ear; traditional jazz instrumentation collides with such musical oddities as boo bas, shamisens, Manga harp, and Burmese gongs.

As always, the choice of compositions on a Martin Denny record is a bizarre yet exciting spin around the globe, but this one is even weirder than usual. From the faster-than-light of "Cumana" to the luscious groove of "Moonlight On The Ganges" (made famous by Frank Sinatra and a track that is still being played on a loop at Disneylan's Jungle Cruise attraction), it's a whiplash of a ride. But the stand-out on the record is the combo of "Misirlou" (which would be made famous a few years later by Dick Dale and even decades later with its appearance in Pulp Fiction).

So join the conga line and head out into the street as Martin Denny once again creates a world we yearn to return to and an album we can always revisit.

1961 Art Blakey and his Jazz Messengers made their only recording for the label Impulse! Records. It marked a turning point for the popular hard bop formation as it was their first appearance as a sextet with trombonist Curtis Fuller, and secondly their last recording with pianist Bobby Timmons. Also unusual is the fact that only one piece by a band member was on the program and otherwise only standards were played.
VERVE BY REQUEST SERIES: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, Gatefold Sleeve.

Jewels of Thought is an album by the American jazz saxophonist Pharoah Sanders. It was recorded at Plaza Sound Studios in New York City on October 20, 1969, and was released on Impulse! Records in the same year.

Kenny Burrell's album "Guitar Forms" stands as Burrell’s definitive musical statement. It was nominated for three Grammys in 1965, is considered one of the true masterpieces in the Verve catalog. This is partly due to the outstanding performance of the guitarist himself, of course, but also to the unforgettable arrangements that Gil Evans wrote for five of the album's nine tracks. According to AllMusic, these were in no way inferior to the brilliant arrangements that Evans had made for Miles Davis classics such as "Birth Of The Cool", "Porgy And Bess" and "Sketches Of Spain".



Verve Acoustic Sounds Series: mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve, Gatefold Sleeve.

"Silver’s Serenade" was the last album Horace Silver made with his celebrated Quintet with Blue Mitchell, Junior Cook, Gene Taylor and Roy Brooks. These five Silver tunes epitomize his compositional style: captivating melodies, sophisticated harmonies and intricate rhythms with an unerring sense of swing.



BLUE NOTE TONE POET EDITION: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

The only one of tenor saxophonist Tina Brooks’ albums as a leader to be released during his too-brief lifetime, 1960’s True Blue is a hard bop masterpiece featuring Brooks’ distinctive compositions performed by an exceptional quintet with Freddie Hubbard on trumpet, Duke Jordan on piano, Sam Jones on bass, and Art Taylor on drums.



Blue Note Classic Vinyl Edition: Stereo, mastered from a digital source by Kevin Gray, manufactured at Optimal (180 g), padded inner sleeves.

In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with Nyaq (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven." Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

Recorded in 1957, Kenny Burrell’s third session as a leader for Blue Note presented the guitarist’s signature stylings with a crack team of hard boppers featuring Horace Silver, Hank Mobley, Doug Watkins, and Louis Hayes. Previously only issued on vinyl in Japan (1979) this swinging set is given a new shine with this mono Tone Poet Vinyl Edition.



BLUE NOTE TONE POET EDITION: Mono, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

"Gilles Peterson has been given the keys to Warner’s impressive Jazz back-catalogue and hand-selected Yusef Lateef’s legendary Detroit Latitude 42° 30' Longitude 83° for Arc Records next release. This is the first time the album has been reissued on vinyl since its originally came out in 1969. The album is Lateef’s nostalgic love-letter to his hometown and one of the rawest works in his catalogue but the record looks forward as well as back. The compositions are laced with the seeds of 70s Jazz Funk that would come to dominate the following decade. Arc Records have given this overlooked piece in Lateef’s oeuvre a bespoke reissue treatment. The audio has been remastered in mono from the original tapes by legendary engineer Bernie Grundman - best known for personally mastering industry landmarks such as Michael Jackson’s “Thriller”, Prince’s “Purple Rain” and Dr. Dre’s “The Chronic” among many others. The artwork, printed on heavy-weight card, is faithful to the original down to the 1960’s-style tip on sleeve and features the original sleeve notes alongside updated liner notes. The record itself is pressed on 180-gram black vinyl. The release is physical only and limited to just 2000 copies."

In 1963, tenor saxophonist Harold Vick made his sole album as a leader for Blue Note, the underrated soul jazz gem „Steppin’ Out“. The record finds its groove from the first downbeat and stays firmly in the pocket throughout this set featuring Blue Mitchell, Grant Green, John Patton, and Ben Dixon.



Blue Note Tone Poet Edition: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket



Harold Vick (tenor saxophone); Big John Patton (organ);

Grant Green (guitar); Ben Dixon (drums); Blue Mitchell (trumpet)

Originally issued in Stereo on Prestige LP (PR 7190) Subsequently reissued in the Prestige/New Jazz budget subsidiary label Status (ST 7190) The John Wright Trio John Wright (piano), Wendell Roberts (bass), Walter McCants (drums). Recorded at Rudy Van Gelder Studios in Englewood Cliff, New Jersey, August 30, 1960 Engineered & mastered by Rudy Van Gelder Cover photo & design: Esmond Edwards Back-liner notes: LeRoi Jones Recording supervised by Esmond Edwards

Underrated drummer’s 1965 album
His debut solo album and one of only two Blue Note albums as leader (the second emerged in 1997)
Recorded at the Van Gelder Studio on 19th May 1965
Featuring Blue Note legend Joe Henderson on tenor, Steve Kuhn on piano and Steve Swallow on bass
Showcasing three fine La Roca originals (the title track, ‘Candu’, ‘Tears Come From Heaven’), Steve Swallow’s ‘Eiderdown’ and interesting takes on the standards ‘Malaguena’ and ‘Lazy Afternoon’
 Produced by Alfred Lion
Includes a famous Reid Miles cover, plus photography by Francis Wolff and liner notes by Ira Gitler

One night during a one-time, two-week engagement at the Five Spot produced enough music of lasting merit for three albums. When Rudy Van Gelder took his portable equipment down to the fabled Cooper Square jazz club on July 16, 1961, he captured the interaction of an extraordinary quintet.
Eric Dolphy, Booker Little, Mal Waldron, Richard Davis and Ed Blackwell had formed a cooperative group and, if LIttle had not died in October 1961, there is no doubt that it would have been a potent force in the music of the 1960s and beyond. Dolphy himself died in June 1964, after establishing himself as one of the important contemporary reedmen. Here his alto saxophone and bass clarinet and Little’s trumpet explore three originals: "The Prophet" by Dolphy, "Bee Vamp" by Little, and "Fire Waltz" by Waldron. It’s time caught in a bottle — music for the ages.