Known for his mariachi-inspired easy listening sound, trumpeter Herb Alpert is one of the most successful instrumental performers in pop history. He is also one of the entertainment industry's canniest businessmen, having co-founded A&M Records – a label that ranks among the most prosperous artist-owned companies ever established – with partner Jerry Moss. Collection includes: The Lonely Bull (1962); South Of The Border (1964); Whipped Cream & Other Delights (1965); !!Going Places!! (1965); What Now My Love (1966); S.R.O (1966); The Beat Of The Brass (1968); Rise (1979); Fandango (1982); Bullish (1984); Keep Your Eye On Me (1987); Classics, Volume 1 (1987); Steppin' Out (Featuring Lani Hall) (2013); In The Mood (2014); Come Fly With Me (2015).

Recorded over three historic sessions in late 1971 and early 1972, master flutist Hubert Laws delivers a towering, deeply exploratory hallmark of early 1970s crossover jazz and pan-African modal exploration. Released on Atlantic, Wild Flower seamlessly blends Third Stream chamber elegance with explosive Afro-Cuban rhythms and post-bop harmonic depth. Laws showcases his complete woodwind mastery, utilizing piccolo, concert flute, and the deep, resonant textures of the alto flute to anchor a series of highly ambitious arrangements conducted by John Murtaugh. The all-star personnel assembled here reads like a summit of jazz legends: Chick Corea’s lyrical, fluid piano lines and Gary Burton’s shimmering vibraphone textures float beautifully over a staggering double-bass foundation featuring Ron Carter and Richard Davis. Driven by the legendary, tight-knit pocket of Bernard Purdie on drums, the rhythmic field is blown wide open by percussion titans Mongo Santamaría and Airto Moreira, reaching dynamic peaks on the thunderous, traditional jazz-fusion excursions of "Yoruba" and John Coltrane's hypnotic "Equinox." This pristine high-fidelity session remains a vital, complex, and culturally expansive classic in Laws' brilliant discography.

On this monumental, double-album masterpiece originally released in 1974, master flutist Hubert Laws delivers what is widely considered one of the absolute finest and most rewarding statements of his illustrious career. Seamlessly traversing the boundaries between high-fidelity classical arrangements, hard-driving post-bop, and smooth, deep '70s jazz-funk, In The Beginning captures the quintessential, cinematic essence of the legendary CTI Records sound. Impeccably engineered by Rudy Van Gelder, the session places Laws alongside an incredible powerhouse rhythm section featuring keyboard wizard Bob James, bass icon Ron Carter, and the razor-sharp pocket of master drummer Steve Gadd. The program is brilliantly eclectic, moving effortlessly from a lush, floating interpretation of Erik Satie's "Gymnopédie #1" to blistering, high-velocity workouts on Sonny Rollins' "Airegin" and John Coltrane's "Moment's Notice"—the latter featuring a roaring, historic tenor saxophone solo by Hubert's brother, Ronnie Laws. Enhanced by elegant string textures and vibrant percussion, this definitive CTI reissue stands as a towering crossover classic overflowing with creative sophistication and soulful fire.

On Dream Come True, the legendary American acoustic guitar icon, fingerstyle maestro, and masterfully panoramic architect of contemporary instrumental phrasing Earl Klugh steps into the studio spotlight to deliver a towering, historically luminous, and beautifully lush crossover document. Released in 1980 by United Artists / EMI Records, this monumental milestone stands as an exceptionally fluid, high-fidelity monument capturing Klugh's absolute definitive fusion of delicate nylon-string guitar artistry and sophisticated, radio-friendly pop-jazz arrangements. Spanning over 37 minutes of immaculate, widescreen spatial design across 8 expansive tracks, the sonic landscape operates with an intense, beautifully layered, and emotionally uplifting creative energy. Klugh acts as a brilliant sonic visionary, weaponizing his immaculate classical picking hand, glistening melodic voice, and complex chordal geometries against rich, cinematic orchestral and acoustic frameworks. Together, they trace spectacular landmarks from the bright, charting groove of If It's in Your Heart (It's in Your Smile) and the sun-drenched rhythmic drive of Amazon to a deeply poetic, soul-stirring reading of Burt Bacharach's classic Message to Michael. Supported by an absolute pantheon of session royalty—including master bassist Marcus Miller, rhythm guitarist Reggie Young, and keyboard icon Greg Phillinganes—this pristine archive remains an indispensable masterpiece for serious jazz guitar purists and crossover smooth jazz collectors worldwide.

On Classics Volume 22, the legendary American guitar icon, generational multi-instrumentalist, and masterfully panoramic architect of modern jazz phrasing Wes Montgomery is celebrated in a towering, historically luminous, and beautifully lush anthology document. Released in 1987 as part of the specialized legacy archival series by A&M Records, this monumental milestone stands as an exceptionally fluid, high-fidelity monument compiling Montgomery's absolute definitive late-1960s pop-jazz masterworks tracked under the visionary production umbrella of Creed Taylor and arranged by Don Sebesky. Spanning over 67 minutes of immaculate, widescreen spatial design across 20 tracks, the compilation operates with an intense, beautifully layered, and emotionally charged creative energy. Montgomery acts as a brilliant sonic visionary, weaponizing his revolutionary thumb-picking technique, pristine parallel octaves, and soaring chordal geometries against rich, cinematic orchestral and brass frameworks. Together, they trace spectacular landmarks including his charting pop-jazz anthems Windy and California Nights, his definitive, deeply soulful readings of The Beatles' classics A Day In The Life and Eleanor Rigby, and his legendary, groove-heavy signature standard Road Song. This pristine archive remains an indispensable masterpiece for serious jazz guitar purists and crossover soul-jazz collectors worldwide.

On this electrifying and exceptionally tight 1989 studio session, master keyboardist and longtime Santana collaborator Tom Coster leads an absolute powerhouse lineup through a brilliant display of late-80s crossover jazz and high-energy fusion. Backed by a legendary rhythm section consisting of drummer Dennis Chambers and bassist Randy Jackson, the album cooks with an infectious, complex rhythmic pocket from start to finish. Coster's vibrant synthesizer work and deep harmonic sensibilities provide the perfect launchpad for spectacular solo flights by guitar virtuoso Frank Gambale, who showcases his signature sweep-picking velocity, and saxophonist Ernie Watts, who brings incredible melodic muscle to the front line. Featuring stellar guest spots from drummer Steve Smith and a youthful Larry Grenadier, the music seamlessly shifts from funk-drenched fusion workouts to sweeping, atmospheric melodies. It stands as a masterfully engineered, definitive document of the late-80s contemporary jazz-rock landscape.

On Plug Me In & High Voltage, the legendary American reed virtuoso, electronic pioneer, and soul-jazz innovator Eddie Harris showcases his revolutionary mastery of the electrified horn to deliver a towering, historically volcanic, and masterfully panoramic double-album reissue document. Released in 2000 by the archival vanguard imprint Collectables, this magnificent milestone combines two of Harris's most explosive, foundational late-1960s Atlantic Records sessions into one continuous high-fidelity package. Spanning nearly an hour of immaculate high-fidelity spatial design, the 12-track landscape operates with an intense, heavily syncopated, and beautifully balanced kinetic energy. Harris acts as a brilliant sonic visionary, routing his tenor saxophone through a Varitone hookup to generate unprecedented electronic octave divisions, fuzzy brass textures, and blistering rhythm-and-blues velocity—tracking massive highlights like the deep-grooving opener Live Right Now, the burning soul-jazz engine of Funky Doo, and a fiery, electrified reading of his signature anthem Listen Here. Driven by Harris's weeping, laser-focused electric horn sighs, Jodie Christian’s driving piano foundations, and an elite bass-and-drum rotation featuring icons like Chuck Rainey, Ron Carter, Grady Tate, and Billy Hart, this pristine archive remains an indispensable masterpiece for serious jazz-funk purists and classic soul-jazz collectors worldwide.

Released in 1977 by JVC Records, Lee Ritenour & His Gentle Thoughts is an absolute monument of the late-1970s West Coast jazz-fusion and crossover architecture. Recorded using state-of-the-art Direct-to-Disc technology in Japan, this high-fidelity session captures a flawless, high-octane performance completely live in the studio without overdubbing or safety tape edits. Nicknamed "Captain Fingers" for his breathtaking, lightning-fast fretwork, guitarist Lee Ritenour leads an absolute dream team of LA session titans. The rhythm section features bass innovator Anthony Jackson alongside drumming icon Harvey Mason and percussionist Steve Forman, beautifully enriched by the dual keyboard configurations of Dave Grusin and Patrice Rushen on piano and Fender Rhodes, with woodwind master Ernie Watts commanding the horn lines. The tracklist features burning fusion originals like "Captain Fingers" alongside stunningly sophisticated interpretations of Earth, Wind & Fire's "Getaway," Roberta Flack's "Feel Like Makin' Love," and Toshiko Akiyoshi's "Meiso." This definitive audiophile recording remains a stunning showcase of absolute structural tightness, crystal-clear sonic dynamics, and legendary groove mastery.

Released in 1983 on Epic Records, The Clarke Duke Project 2 is a vibrant, brilliantly polished follow-up masterpiece that showcases the absolute pinnacle of early-1980s crossover jazz, funk, and R&B architecture. Masterminded by the iconic tandem of bassist Stanley Clarke and keyboard wizard George Duke, this album perfectly balances deep, sophisticated musicianship with irresistible, radio-ready urban grooves. For this star-studded studio session, the duo enlisted a powerhouse rhythmic foundation featuring legendary drummers Billy Cobham, Narada Michael Walden, and John "J.R." Robinson, alongside master percussionist Paulinho Da Costa and guitarist Michael Sembello. The vocal arrangements reach absolute heights with stunning guest performances by R&B royalty Jeffrey Osborne and Howard Hewett, backed by lush, expansive orchestral strings arranged by George Del Barrio. From the high-energy, slap-bass drive of "Put It On The Line" to smooth, deeply soulful gems like "Heroes" and "Atlanta," this definitive album stands as an enduring, feel-good celebration of late-twentieth-century jazz-funk and pop-fusion mastery.

On Face The Music, the legendary American keyboard maestro, vocalist, producer, and historical jazz-funk pioneer George Duke steps into the studio to deliver a towering, spectacularly sun-drenched, and masterfully synchronized retro-modern document. Released in 2002 via his independent vanguard imprint BPM Records, this vibrant milestone stands as an exceptionally fluid, high-octane celebration of old-school urban groove and advanced crossover architectures. Spanning nearly 71 minutes of immaculate high-fidelity spatial design, the 10-track landscape operates with an intense, heavily syncopated, and beautifully balanced kinetic energy. Duke acts as a brilliant sonic visionary, seamlessly fusing greasy, slappy basslines, crying horn sections, and roaring Minimoog synth leads—firing off magnificent tracking highlights like the politically charged opener The Black Messiah (Part Two), the deeply soulful late-night cruise of Chillin', and the high-velocity, polyrhythmic fusion workout of Ten Mile Jog. Driven by Duke's signature vocal harmonies and blistering acoustic-electric keyboard arrangements, the towering bass foundations of Christian McBride, and Little John Roberts's explosive drum telemetry, this pristine archive remains an indispensable masterpiece for serious jazz-funk purists and contemporary fusion collectors worldwide.

On Ain't Gonna Hurt Long, the brilliant American contemporary jazz master, veteran percussionist, and bandleader Michael White guides an absolute powerhouse mega-ensemble into the studio to deliver a spectacularly sun-drenched, sophisticated, and masterfully synchronized smooth jazz document. Released in 1995 by the premier Japanese outpost Pony Canyon, this vibrant milestone stands as an exceptionally fluid, upbeat peak in mid-90s urban crossover fusion, seamlessly weaving pristine acoustic lyricism with tight, late-night R&B grooves. Spanning over 51 minutes of immaculate high-fidelity spatial design, the 8-track landscape operates with a shimmering, deeply soulful, and beautifully balanced kinetic energy. White acts as a phenomenal sonic visionary and orchestrator from behind the drum kit, tracking magnificent highlights like the smooth, polyphonic opening breakdown of Take Four, a brilliant, atmospheric modern reading of Herbie Hancock's classic Tell Me A Bedtime Story, and the deeply expressive, bass-driven Title Anthem. Driven by White's immaculate pocket timing, the record features an astonishing, historic dream-team rotation of contemporary jazz royalty—including sax masters Gerald Albright, Kirk Whalum, Everette Harp, and Najee, alongside guitar icons Paul Jackson Jr. and Ray Fuller, and bass legends Marcus Miller and Freddie Washington—making this pristine archive an indispensable masterpiece for serious crossover fusion purists and smooth jazz collectors worldwide.

On Fascination, the multi-talented American contemporary jazz composer and multi-instrumentalist Clinton Fortson steps into the studio to deliver a spectacularly sun-drenched, sophisticated, and masterfully synchronized smooth jazz document. Released in 2010 via independent vanguard platform CD Baby, this vibrant milestone stands as an exceptionally fluid, upbeat exploration of urban grooves and late-night melodic architectures. Spanning nearly 65 minutes of immaculate high-fidelity spatial design, the 12-track landscape operates with a shimmering, deeply soulful, and beautifully balanced kinetic energy. Fortson acts as a brilliant sonic orchestrator, seamlessly weaving crisp electronic percussion patterns with lush, multi-layered keyboard environments and crying horn lines—firing off magnificent tracking highlights like the breezy title opener Fascination, the deep, bass-driven syncopation of Powda Keg, and the expansive, emotionally moving journey of Alone again. Enhanced by the smooth, lyrical guitar lines of special guest Ronnie Crumbly on standouts like How could you and Crystal Dawn, this pristine independent archive remains an indispensable masterpiece for serious contemporary fusion purists and smooth jazz collectors worldwide.

On The Searcher, the brilliant American jazz guitarist, composer, and bandleader Kevin Eubanks guides an absolute powerhouse contemporary ensemble into the studio to deliver a spectacularly sun-drenched, sophisticated, and masterfully synchronized studio document. Released in 1989 by Dave Grusin and Larry Rosen's premier crossover imprint GRP Records, this vibrant milestone stands as a phenomenal exploration of late-80s fusion architectures, seamlessly weaving immaculate acoustic lyricism with advanced electronic textures and tight, urban grooves. Spanning over 53 minutes of immaculate high-fidelity spatial design, the 10-track landscape operates with a shimmering, upbeat, and beautifully balanced kinetic energy. Eubanks navigates his ensemble through pristine melodic frameworks and burning, syncopated fusion territories—firing off magnificent tracking highlights like the beautifully descriptive opener The Story Teller, the hard-driving electric syncopation of Straitjacket, and the deeply atmospheric, multi-layered title epic In Search of the Searcher. Driven by Eubanks's lightning-fast guitar runs, Edward Simon's rich MIDI keyboard colors, and a world-class shifting rhythm team anchored by bass icons Victor Bailey and Rael Wesley Grant alongside the volcanic drumming of Dennis Chambers and Gene Jackson, this pristine archive remains an indispensable masterpiece for serious contemporary fusion purists and guitar collectors worldwide.

On Ten Degrees North, the legendary American mallet virtuoso and Spyro Gyra member Dave Samuels steps out as a leader to deliver a spectacularly sun-drenched, sophisticated, and masterfully rhythmic studio document. Released in 1989 by MCA Records, this vibrant crossover landmark serves as a brilliant exploration of global grooves, seamlessly weaving together Afro-Caribbean rhythms, contemporary jazz-fusion textures, and lush, melodic pop sensibilities. Spanning over 45 minutes of immaculate high-fidelity spatial design, the 11-track landscape operates with a shimmering, upbeat, and beautifully balanced kinetic energy. Samuels leads an absolute powerhouse assembly of contemporary jazz elite, firing off magnificent tracking highlights like the soaring, polyrhythmic opener White Nile, the smooth, driving syncopation of the title track Ten Degrees North, and the deeply moving, lyrical tribute Para Pastorius. Driven by Samuels's sparkling vibraphone runs, rich marimba counterpoint, John Patitucci's hyper-fluid basslines, and Alex Acuña's precision percussion engine, this pristine archive remains an indispensable masterpiece for serious contemporary fusion purists and tropical jazz collectors worldwide.

On On The Horn, the phenomenal American soprano and alto saxophonist Paul Taylor delivers a sun-drenched, incredibly velvety, and masterfully soulful debut studio document. Released in 1995 by the contemporary jazz imprint N-Coded Music, this glittering breakthrough record announced Taylor as a major force in the smooth jazz world, beautifully matching his crisp, singing horn lines with lush, late-night urban electronic texturing and rich adult-contemporary R&B grooves. Spanning over 45 minutes of immaculate high-fidelity engineering, the 10-track landscape operates with a relaxed, romantic, and beautifully polished kinetic energy. The album glides fluidly through breezy coastal arrangements, firing off magnificent highlights like the infectious opener Set Me Free, the soulful grooves of I Want Your Love, and a gorgeous, atmospheric guest feature from Japanese piano icon Keiko Matsui on the title cut On The Horn. Driven by his unmistakable, lyrical reed work, shimmering synth beds, and tightly programmed bass loops, this pristine archive remains an indispensable treasure for serious smooth jazz purists and global quiet storm collectors worldwide.