American pianist Kenny Drew's second and final album under Blue Note Records. "Undercurrent" was originally released in 1961 and features a quintet comprised of Drew, Freddie Hubbard, Hank Mobley, Sam Jones and Louis Hayes. This was Drew's last recording before heading to Copenhagen to begin his international jazz career.

"The Turnaround!" is jazz tenor saxophonist Hank Mobley's 1965 Blue Note release. The hard bop, soul jazz instrumentalist and composer collaborated with some of the '60s most proficient jazz musicians on this release, including Herbie Hancock, Philly Joe Jones, Paul Chambers, Freddie Hubbard and Donald Byrd, among others.

"My Point of View" is Herbie Hancock's sophomore album, originally released in 1963 on Blue Note Records. The album followed his successful debut album "Takin' Off" and helped solidify his position in the jazz world. Hancock wrote the piece "Blind Man, Blind Man" after an experience where he encountered a blind man playing his guitar on the corner of his Chicago neighborhood.

"Blackjack" was originally released in 1967 and features performances by Byrd with Sonny Red, Hank Mobley, Cedar Walton, Walter Booker, and Billy Higgins. It was produced by Alfred Lion and recorded at Van Gelder Studio in Englewood Cliffs, New Jersey.

No Room For Squares is comprised of two unforgettable 1963 sessions by Hank Mobley. The star-studded performances feature Lee Morgan, Donald Byrd, Andrew Hill, Herbie Hancock, John Ore, Butch Warren and Philly Joe Jones. Standouts include “Me 'N You”, “Carolyn” and the title-track. This is gritty hard-bop at its finest. Essential.

Mobley's Message is an album by jazz saxophonist Hank Mobley. It was recorded on July 20, 1956 and features performances by Mobley, Donald Byrd, Barry Harris, Doug Watkins and Art Taylor, with Jackie McLean guesting on one track.

Mobley's 2nd Message is an album by jazz saxophonist Hank Mobley. It was recorded on July 27, 1956, one week after Mobley's Message, and features performances by Mobley, Kenny Dorham, Walter Bishop, Doug Watkins and Art Taylor.

The first of two sets recorded during a weekend in 1961 features the Miles Davis Quintet at a period of time when Hank Mobley was on tenor and the rhythm section was comprised of pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb.

The second volume in the complete recordings from Miles Davis' legendary two-night stand at the Blackhawk in 1961 with his new quintet – which featured Hank Mobley, Wynton Kelly, Paul Chambers, and Jimmy Cobb – is as stunning as the first.

"Afro-Cuban" is the 1955 masterpiece by Kenny Dorham. The recording is one of the first well-respected blends of jazz and Afro-Cuban. The legendary jazz trumpeter is joined by J.J. Johnson, Hank Mobley, Cecil Payne, Horace Silver, Percy Heath, Art Blakey, Carlos Valdes and Richie Goldberg. This is a vital addition for any music connoisseur’s collection. Standouts include “Afrodisia”, “Lotus Flower” and “Minors Holiday”.

"A New Perspective" was released in 1963 on Blue Note Records. Considered to be one of the best and most successful uses of a gospel choir in a jazz context. Byrd himself said about the album, "I mean this album seriously. Because of my own background, I've always wanted to write an entire album of spiritual-like pieces. The most accurate way I can describe what we were all trying to do is that this is a modern hymnal. In an earlier period, the New Orleans jazzmen would often play religious music for exactly what it was - but with their own jazz textures and techniques added. Now, as modern jazzmen, we're also approaching this tradition with respect and great pleasure".

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.

"Horace Silver And The Jazz Messengers" is the influential 1955 classic by the ensemble. This milestone album established the hard bop style. It is the first under the quintet’s name and features a smoothing blend of bebop influences with blues and gospel undertones. Standouts include “The Preacher” and “Doodlin'”.

Recorded in late 1960, Kenny Drew's seventh recording as a leader is significant for many reasons, not the least of which that it is one of the finest Blue Note hard bop statements in either of their catalogues. Teamed with rising young star trumpeter Freddie Hubbard and the wonderful tenor saxophonist Hank Mobley fresh off stints with Donald Byrd and Art Blakey, Drew joined the ranks of the premier mainstream jazz pianists just prior to moving permanently to Europe. He's a complementary piece of the puzzle as a player, but stirs the drink as the composer of all of these very fine hard bop vehicles.

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.