Pat Martino's 1967 Prestige session with Cedar Walton and Joe Farrell -- a guitar record that moves between full-throttle bebop and deliberate balladry.
Jimmy Heath's 1960 Riverside date with all three Heath brothers, Clark Terry, and both Adderley brothers -- big band thinking scaled down to ten pieces.
Ted Curson's 1964 tribute to Eric Dolphy, recorded less than two months after Dolphy's death in Berlin -- six tracks of restless, searching music on Fontana.
Charles Earland's 1970 Prestige debut with Jimmy Heath, Virgil Jones, and a six-piece unit that hit the Billboard charts -- soul-jazz organ music that never dumbs anything down.
Walt Dickerson's 1962 love letter on vibraphone -- a quartet session with Andrew Hill, George Tucker, and Andrew Cyrille that became his definitive recording for New Jazz.
Booker Ervin's 1964 Prestige standards date with Tommy Flanagan, Richard Davis, and Alan Dawson -- the hardest-blowing tenor in jazz at his most tender.
Ray Barretto's 1968 Fania classic -- a no-overdubs conjunto session that bridged boogaloo and the salsa explosion, recorded at RCA Studios in New York.
Sonny Clark's final Blue Note date as a leader — a hard bop masterclass recorded fourteen months before his death, featuring Tommy Turrentine, Charlie Rouse, a rare Ike Quebec guest spot, and a rhythm section that swings like it has nowhere else to be.
Gil Melle's 1956 Prestige quartet date -- a restless innovator who painted covers for Miles Davis and built his own instruments, captured across two Van Gelder sessions.
