Back catalogue:

Review: An album that defined the "cool" in West Coast Jazz when it emerged in 1960, it's a robust, swinging session led by the veteran Los Angeles-based tenor saxophonist. Edwards' smooth tone in the middle and lower registers, combined with a brassier edge in the upper range, showS his melodic inventiveness and dynamic fluidity. The primary rhythm section features Leroy Vinnegar on bass and Billy Higgins on drums, with either Amos Trice or, more often, Joe Castro on piano. Higgins, fresh off sessions with Ornette Coleman, locks into a straight-ahead groove, with the entire rhythm section swinging relentlessly. Pianists Trice and Castro bring a bebop-plus-barroom feel reminiscent of Sonny Clark, adding grit and charm to the quartet's sound. The program is largely blues and bebop-flavored originals, with several based on the chord changes of 'I've Got Rhythm'. The title track introduces a Latin flair, while Vinnegar's 'Vintage '57' offers variety.A pivotal moment in West Coast jazz when Edwards, once obscure, reemerged with vigour.

Review: Blue Note's Tone Poet series is one of the most prolific and driven reissuing motors out there, focusing on faithful, audiophile-quality restorations, remasters and re-presses. Next on their list is Brooker Ervin's sax masterpiece Tex Book Tenor (1968). Contrasting to the revolutionary unease of its year of release, Tex Book Tenor abides by the book, bringing together five steady performances, including two covers (of Kenny Barron 'Gichi' and Woody Shaw's 'In A Capricornian Way'), and three originals, 'Den Tex', 'Lynn's Tune' and '204'. The album is soft-spoken in sound here - contrasting to his reputation for tough playing elsewhere - but this variety only proves Ervin's status as one of the fullest vessels around.