"The Soul of Ben Webster" is an album by American jazz saxophonist Ben Webster featuring tracks recorded in 1958 for the Verve label. This is a blowing session that matches the matchless jazz tenor sax master with fellow tenorist Harold Ashby in a program of loose originals.

This compilation recorded during the 1972 Heidelberg Jazz Festival is a wide-ranging sampler with individual selections by evelen European groups representing a potpourri of musical styles and directions.

This edition presents the complete original classic album "The Great Wide World of Quincy Jones", presenting the outstanding 1959 Quincy Jones orchestra. Also, it have been added a live performance in Zurich by the same band filled with superlative stars. It was issued under the same title with the addition of the word Live!

"The Total J.J. Johnson" is an album by jazz trombonist and arranger Jay Jay Johnson and Big Band recorded for the RCA Victor label. The Allmusic review observed it as "the emphasis is on the arranged ensembles, making this project an excellent example of Johnson's often-overlooked writing talents".

"Cool Struttin’" is a 1958 album by jazz pianist Sonny Clark. Described as an "enduring hard-bop classic" by The New York Times, the album features alto saxophonist Jackie McLean, trumpeter Art Farmer and two members of the Miles Davis Quintet, drummer Philly Joe Jones and bassist Paul Chambers. According to The Stereo Times, the album enjoys "a nearly cult status among hardcore jazz followers", a reputation AllMusic asserts it deserves "for its soul appeal alone".

By 1956 when this album was recorded, Art Farmer had come into his own as a trumpet soloist. His combination of earthiness, drive, respect for melody, harmonic sophistication and a wistful sound on ballads produced a distinctive and immediately recognizable style. The catchy Farmer's Market had resulted in a semi-hit for Annie Ross after she was inspired by Farmer's 1951 version; Farmer's remake on this album has one of his best solos of the 1950s. His bassist twin brother Addison is in the band, along with pianist Kenny Drew, drummer Elvin Jones and Hank Mobley on tenor saxophone. Farmer, Drew and Mobley contributed most of the tunes on this album.

Romanian born trombonist, composer/arranger Peter Herbolzheimer led one of the most innovative, successful European big bands, Rhythm Combination & Brass. Composed of international stars, the band zeroed in on a big brassy sound, usually incorporating a single reed player – the great saxophonist Herb Geller. Recorded in early 1973, the album exemplifies RC&B’s playing during its early innovative period, when blues, gospel, bop and rock dominated.

This all-star session was put together by Down Beat magazine featuring the winners and runners-up from the magazine's critic's poll in 1957. While John Coltrane's name may leap out at you from the cover art, he only plays his tenor sax on half the songs here. On the remaining material Coltrane leads the orchestra, a new step for him at the time and a glimpse at an interesting early chapter of his history. And what an orchestra it was: composed of the best of the up-and-coming New York jazz scene, the other musicians in the Winner's Circle here include Donald Byrd on trumpet, Al Cohn on baritone sax, Eddie Costa on piano and vibes, Kenny Burrell on guitar, Oscar Pettiford on bass and Ed Thigpen on drums.

"Dream of You", the third studio album by Helen Merrill, was arranged and conducted by Gil Evans. This recording immediately preceded the first of Evans' famous albums with Miles Davis, "Miles Ahead". In 1987, Merrill and Evans reunited to record new versions of the same songs for the album Collaboration. This reissue of "Dream of You" includes additional tracks.

"With the single exception of Kind of Blue, Sonny Clark's Cool Struttin' is almost certainly the coolest jazz album of all time" — 100 Greatest Jazz Albums.

Pianist Sonny Clark reached the peak of his short career with 1958's “Cool Struttin'” but each date he led on Blue Note is now considered a classic. Though commercial success always eluded him, he was in demand as a sideman and played dozens of dates, including Tina Brooks's "Minor Move". Luckily, Clark's contribution is well documented on record; he has achieved far more critical, musical, and popular acclaim than he ever did in life. On this recording Clark is joined by Jackie McLean on alto saxophone, Art Farmer on trumpet, Paul Chambers on bass and Philly Joe Jones on drums.

This 1972 production is a potpourri of “live” festival big bands, starring some of the greatest jazz musicians of the time: the Nordic All-Stars with Norwegian saxophonist Jan Garbarek of ECM fame, Poland’s Novi Singers and the Zurich International Festival All-Stars including Dexter Gordon and Art Farmer. These timeless performances sound as fresh today as when they were first recorded.

"Big Blues" finds flugelhornist Art Farmer and guitarist Jim Hall pairing up for one of their first sessions together since their collaborations in the mid-60s and they literally don't miss a beat. The unique quintet project is rounded out by Mike Mainieri (vibraphone), Michael Moore (bass) and Steve Gadd (drums) and the results are as relaxed as they are lyrical.

Despite the title - no crawl space here – as the sound is wide open, and surprisingly funky – a set that stands as one of Art Farmer's few great 70s outings for the CTI label. The album's got Art blowing with all the cool, compressed sound that he'd bring to a straighter album – but on longer tracks, with that open, flowing vibe you might hear on some of Freddie Hubbard's efforts for the label with less bite, and more flow overall! The set includes great work on flute from Jeremy Steig – plus guitar from Eric Gale, keyboards from Dave Grusin, and drums from Steve Gadd – and although the date of this one is late, the sound is in that prime 1972/1973 CTI mode.

The title of this reissue LP is a bit ironic for jazz was really struggling commercially in 1967 and the "hits" were few and far between. In fact flugelhornist Art Farmer, who leads the notable hard bop quintet, would be moving to Europe the following year where he would work much more often than he had in the U.S.