Buddy Rich was pumping new life into the big-band genre and enjoying a tremendous resurgence in popularity when he recorded this powerhouse group at Caesars Palace in 1968. It's a winning combination of enthusiastic young musicians, a few current pop tunes, exceptional veteran arrangers and soloists, and Rich himself, pressing the band to its limits with his volatile drumming. While it's the band itself that occupies center stage, there are also terrific individual efforts. Guitarist Walt Namuth emphasizes the funky dimension of "Mercy, Mercy, Mercy" and "Ode to Billie Joe," while the veteran altoist Art Pepper brings soulful lyricism to the rich hues of "Alfie" and "Chelsea Bridge." Trumpeter Bill Pierce and tenorist Don Menza add several hard-swinging solos to the mix, pushed on by the powerful horn sections. From Bill Reddie's ambitious "Channel 1 Suite" to Henry Mancini's popular "Mr. Lucky," this is a great balance of big-band excitement and precision. --Adam Rains (From Amazon.com)

When these nine sides were cut in February 1955, trumpeter Clifford Brown was not even 25 years old, but he'd already emerged as jazz's greatest trumpeter this side of Miles Davis. Whereas Davis made his mark through conception, composition, and cool tones, Brown was a blowing, blaring, blistering fire who navigated chord changes without a second's pause. This record will give listeners plenty of chance to marvel at his fleet improvisations and sharp tone, which remarkably never lost its fullness at any speed. The m.o. of the quintet was pretty well set at this point: reinvigorated standards augmented by crafty introductions and taken at full bore; sprite originals with complex melodies; and an urgency unmatched in jazz before or since. Pianist Richie Powell and tenor Harold Land admirably keep pace with the leaders. --Marc Greilsamer (From Amazon.com)

Miles Davis took the stage of New York's Fillmore East with five other players on March 7, 1970. Leaning heavily on the soon-to-be-released Bitches Brew and looking back no further than 1962's "Masqualero," they rumbled, squawled, and stomped through two sets that might have surprised even fans of Davis's new rock-influenced sound. At times edgier than even the challenging Brew, the music was nonstop, polyrhythmic, and crashing while remaining groove-oriented. With Miles blowing one aggressive solo after another, saxophonist Wayne Shorter and drummer Jack DeJohnette rise to the moment while providing reminders of the angular sound of the '60s trio. While "Bitches Brew" itself appears in a drastically shortened but still relatively hushed treatment, the first of two versions of "It's About That Time" breaks away from In a Silent Way's midtempo meditation into full-tilt tumult. These 90 minutes capture Miles headed in the direction of Jack Johnson, stopping to give the rock audience a glimpse of himself working at another peak. --Rickey Wright (From Amazon.com)