Recorded in Milan, 1st of March, 1966.

雖然Albert Ayler的音樂生命只有短短十年的時間，但他卻是60年代最有影響力的音樂家之一。在生前，他的音樂是受到爭議的，因為他的音樂十分前衛，不是一般的弦律和節奏，大部分人的耳朵仍是保守的，直到後來才被越來越多人肯定他的創作。 由於服役的地方是法國，他也認識許多在法國的音樂家，像是同為薩克斯風手的Dexter Gordon。退伍之後仍留在歐洲，1962年時在哥本哈根錄製他的第一張唱片。在歐洲，Albert Ayler開啟了一扇爵士的大門，自由即興、實驗、前衛爵士在Albert Ayler身上找到更多的淵源。 這張錄制于1964年的自由即興、實驗大作，在現在聽起來會比當今很多自由作品順耳很多，但這僅僅是吵鬧度上，混亂的薩克斯，無調的旋律。Bass很無精打采的時不時來兩下。粗礪的薩克斯重頭到尾就在一種絕望的狀態下，用詭異的聲音在驅趕著自我的魂靈，在聽完Ghosts: Second Variation 之后，我就被這個來自地域的聲音嚇住了，但是在聽過第三首spirits之后，這樣的恐懼感比起狂醉后倍感的孤獨凄涼好受的多。這是一張令人絕望的作品，一張隨時會破壞你心情的專輯。當然很多人都是在自虐，Albert Ayler又何嘗不是。

Ascenseur pour l'échafaud is an album by jazz musician Miles Davis. It was recorded at Le Poste Parisien Studio in Paris on December 4 and 5, 1957. The album features the musical cues for the 1958 Louis Malle film Ascenseur pour l'échafaud.

Albert Ayler was an American avant-garde jazz saxophonist, singer and composer. After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s.

Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey, March 6th, 1963 Tenor Saxophone, Soprano Saxophone – John Coltrane Piano – McCoy Tyner Bass – Jimmy Garrison Drums – Elvin Jones Recorded By – Rudy Van Gelder Liner Notes – Ashley Kahn

Ahmad Jamal (born Frederick Russell Jones, July 2, 1930) is an American jazz pianist, composer, bandleader, and educator. For six decades, he has been one of the most successful small-group leaders in jazz.

Freddie Hubbard's composition "The Core" is dedicated to the CORE (Congress of Racial Equality) and expresses "Hubbard's admiration of that organization persistence and resourcefulness in its work for total, meaningful equality." "They're getting", he explains, "at the core, at the center of the kinds of change that have to take place before this society is really open to everyone. And more than any other group, CORE is getting to youth, and that's where the center of change is." The piece was called that way also because Hubbard thought that the musicians "got at some of the core of jazz - the basic feelings and rhythms that are at the foundation of music."[3] "Pensativa" was composed by Fischer, but was arranged by Hubbard for the occasion: "I was playing a gig in Long Island", he recalls, "and the pianist started playing it. The mood got me, this feeling of a pensive woman. And the melody was so beautiful that, after I'd gotten home, I couldn't get it out of my mind." The Allmusic review by Al Campbell awards the album 4 stars and states " This edition of the Jazz Messengers had been together since 1961 with a lineup that would be hard to beat: Freddie Hubbard on trumpet (his last session with the Messengers), Wayne Shorter on tenor sax, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Shorter's title track is one of the finest moments in the Jazz Messengers' history."

At the release of the film "Let's Get Lost", Milan Records offers a retrospective on the most memorable songs of Chet Baker: My Funny Valentine, But Not For Me, You do not know what love is and Let's Get Lost.Chet Baker, as Louis Armstrong, Billie Holiday and Miles Davis is a true legend of jazz. His life tormented, the murmur roco of his trumpet and his voice enigmatic make him an icon of the'50s and'60s. Ten years after his mysterious death has begun "the myth"! His past life between Europe and America, clubs, women, alcohol, drugs, have given rise around him an aura of mystery and fascination but, despite its fatal journey to death, Chet Baker has created a musical style that the has finally consecrated as one of the most influential incarnations of the blues.

Solo Monk is the eighth album Thelonious Monk released for Columbia Records in 1965. The album is composed entirely of solo piano work by Monk. The Allmusic review by Thom Jurek states "This is perhaps the solo piano record to have by Monk".In addition to various vinyl and CD issues, Sony Music Enterprises issued an SACD (SRGS 4520) in Japan.

Recorded：March 7, 1957 Sonny Rollins - tenor saxophone Ray Brown - bass Shelly Manne - drums

Out of the Cool is a jazz album by The Gil Evans Orchestra, recorded in 1960 and released on the Impulse! label the following year. The album was one of Impulse!'s first four albums, released together, and featured a gatefold design and high production values.

Although Lalo Schifrin is justifiably praised for his soundtrack work, many jazz purists turn up their noses at his jazz dates, such as his '60s work with Jimmy Smith and Wes Montgomery. The things that make Schifrin an anathema to the diehards -- the huge orchestras, the pop and soul riffs, the general air of over the top theatricality -- are all over 1977's Free Ride, his reunion date with Dizzy Gillespie. (Schifrin had been Gillespie's arranger in the late '50s.) In fact, Free Ride is so painfully dated that it's transformed into cockeyed cool, just the sort of record ironic hipsters should listen to while they're reading the novelizations of '70s cop shows that they bought for a bundle off of eBay. Gillespie plays with his usual wit and panache, but most of the time, he sounds like a sideman on his own album; the real focus of Schifrin's arrangements is the funky wah-wah guitars and ARP synthesizer solos that take center stage on tracks like "Fire Dance" (which sounds exactly like it should be the theme for a Charlie's Angels spinoff) and the mellow disco of the closing "Last Stroke of Midnight." Occasionally, Gillespie gets to break out on his own album, with the lovely solo on "Love Poem for Donna" his particular standout. For what it is, Free Ride is really quite good (guests include Lee Ritenour and future star Ray Parker, Jr.), but it's very much a record of and for its time.

Gil Evans (piano, arranger); Johnny Coles, Bernie Glow, Ernie Royal, Thad Jones (trumpet); Jimmy Cleveland, Tony Studd (trombone); Ray Alonge, Julius Watkins, Gil Cohen, Don Corado (French horn); Bill Barber (tuba); Eric Dolphy, Wayne Shorter, Al Block, Steve Lacy, Andy Fitzgerald, Jerome Richardson, Bob Tricarico (reeds); Eric Dolphy, Wayne Shorter, Al Block, Steve Lacy, Andy Fitzgerald, Jerome Richardson, Bob Tricarico (woodwinds; Bob Maxwell, Margaret Ross (harp); Harry Lookofsky (violin); Kenny Burrell, Barry Galbraith (guitar); Ron Carter, Paul Chambers, Gary Peacock, Richard Davis, Ben Tucker (bass); Elvin Jones (drums). Recorded 1963 & 1964. Verve. Director of engineering:Val Valentin

With four of the brightest innovative talents in New York (Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams) and five startling, diverse originals, Eric Dolphy made the greatest and most adventurous album of his career for Blue Note. Unfortunately, it would be his last studio recording. He died in Germany four months later at the age of 36.