The legend of Bill Evans really begins with this album, his second. The pianist had just spent most of 1958 as part of one of the major units in jazz history: the Miles Davis Sextet that also featured John Coltrane and Cannonball Adderley. His fellow musicians already knew his worth (the album title was almost literally accurate, and the four endorsements on the cover, which embarrassed Bill, could easily have been greatly multiplied); with this record, the jazz public began to follow their lead. Aided by Sam Jones and Philly Joe Jones, Evans set down some of his most swinging trio sides, but the session would be memorable if it had only yielded the remarkable and haunting solo improvisation called "Peace Piece."

The second of two CD reissues of a jam session led by guitarist Kenny Burrell features the talented if forgotten trumpeter Louis Smith, both Junior Cook and Tina Brooks on tenors, pianist Bobby Timmons (Duke Jordan was on the first volume), bassist Sam Jones and drummer Art Blakey. The all-star group performs two standards ("Caravan" and the guitarist's feature on "Autumn in New York"), Sam Jones's "Chuckin'" and Burrell's "Rock Salt." This is excellent music that easily fits into the bop mainstream of the period.

True Blue is led in title under the auspices of Dexter Gordon as a welcome home party conducted by Don Schlitten for the expatriate tenor saxophonist in 1976. Essentially a jam session, this very talented septet features a two tenor-two trumpet front line, utilized to emphasize the soloing strength of the horns, not necessarily in joyous shouts or big-band like unison outbursts. The real star here is Barry Harris, and if you listen closely to his comping behind the soloist or his many colorful chords and single-line runs, you realize how brilliant he continued to be in his prime during this beyond-bebop time frame. The distinctly different, legato flavored sound of Al Cohn contrasts nicely to the broader range and richer tones of Gordon, while Blue Mitchell's warm West Coast trumpet phrasings also run aside but a little behind the animated and clipped brassy sounds of Sam Noto, a player deserving much wider recognition, and playing to the hilt on this recording. The session kicks off with the classic superimposed melodies of "Lady Bird" and "Half Nelson," with melodies split between the trumpet and tenor tandems.

Sam Jones was a prolific sideman during his career, though he recorded on an occasional basis as a leader. This 1978 session, just a few years prior to his premature death, finds him leading a powerful post-bop quintet, his regular group at the time, with cornetist Terumasa Hino, tenor saxophonist Bob Berg, pianist Ronnie Mathews, and drummerAl Foster. Jones primarily plays a supporting role through a good part of the date, though he is prominently featured in the interpretation of Paul Chambers' "Visitation," while he also revisits his breezy bop vehicle "Del Sasser." Mathews penned the tense modal work "Jean Marie" which incorporates a quirky unison horn line. Berg, who worked with Tom Harrell, likely is responsible for the inclusion of the trumpeter's brisk bossa nova "Before You" and his rapid-fire cooker "Occurance"…

Niels-Henning Ørsted Pedersen was quite comfortable in extending an invitation to Sam Jones for this unusual recording date, which features the two bassists, along with guitarist Philip Catherine (who sticks to playing acoustic) and drummer Billy Higgins, with Albert "Tootie" Heath's tambourine added on two tracks. Both bassists had played with the formidable pianist Oscar Peterson, so they not only knew something about playing rhythm but were very potent soloists to boot. Pedersen's singing tone contrasts with the darker sound of Jones, though the players nimbly shift roles throughout the sessions. Among the highlights is a bright, breezy setting of John Coltrane's "Giant Steps," Jones' lush ballad "Miss Morgan," and a dramatic take of "Yesterdays." This fun date was evidently the only time Niels-Henning Ørsted Pedersen and Sam Jones had the opportunity to work together, but they made the most of it.