Jazz from The Pacific Northwest combines two previously unissued concert recordings from one of the greatest jazz drummers of all-time, Shelly Manne. The first recording features Monty Budwig on bass, Russ Freeman on piano, Stu Williamson on trumpet, and Herb Geller on flute and alto saxophone recorded at the Monterey Jazz Festival on October 4, 1958. The second recording features Hampton Hawes on piano, Frank Strozier on flute and alto saxophone, Conte Condoli on trumpet and guest vocalist Ruth Price on two tracks recorded at the Penthouse jazz club in Seattle on September 7 and 15, 1966.

Its members were guitarist Laurindo Almeida, saxophonist and flutist Bud Shank, bassist Ray Brown, and drummer Shelly Manne, replaced by Jeff Hamilton after 1977. They performed a mixture of straight-ahead jazz on the "cool" side, influenced by European Classical music, and bossa nova and samba (Almeida was born in Brazil). They recorded ten albums before disbanding. Chuck Flores was the group's original drummer but did not record with them.

Recorded and released in 1957, this groundbreaking jazz-country album features Sonny Rollins accompanied by Ray Brown on bass and drummer Shelly Manne, with no pianist. Rollins chose cover songs and wrote originals that captured his love of the Western movies he grew up watching, with their themes of independence and self-sufficiency.

Recorded live at the Black Hawk, San Francisco in September 1959, “At The Blackhawk, Vol 1” is the first of 4 volumes released in 1960. Featuring six cuts, Manne (drums), is joined by Joe Gordon (trumpet), Richie Kamuca (tenor sax), Victor Feldman (piano) and Monty Budwig (bass). This new edition features remastered hi-res audio from the original tapes.

Influential and innovative jazz pianist Bill Evans took time off from his regular trio to record Empathy with drummer Shelly Manne (who shares equal billing) and bassist Monty Budwig. Critics noted that the impromptu collaboration seemed to loosen Evans up, inspiring a lighter, freer and more relaxed performance on this album than on his previous recordings with his usual bandmates.

The American pianist Hank Jones could, spanning his 65 year career, always be counted on for a joyful presence on the jazz scene, playing sparkling piano solos that uplifted every group that was wise enough to hire him. This set of previously unreleased music from June 6, 1983 puts the spotlight of one of the most consistent geniuses in jazz history.

This was the first trio album that Sonny Rollins recorded in the late 50s, and it remains among the most important documents of his career. Astounding melodic continuity paired with stream-of-consciousness invention, passion, and maturity on the ballads "Solitude" and "There Is No Greater Love," a brilliantly quirky title track, inspired support from Ray Brown and Shelly Manne, and a supreme wit that carried over to perhaps the greatest cover photo of all time combine to make Way Out West one of the most inspired and best loved albums in jazz history.

Though June Christy performed well in many different settings, she excelled when leading a small group or singing a sympathetic chart. Though in 1945 she was still a decade away from a dedicated solo career that saw her shine with Pete Rugolo's advanced arrangements, Christy began recording laid-back transcription dates with small groups of Stan Kenton sidemen. The Jazz Factory's collection of this material, "Complete Capitol Small Group Transcriptions", trumps earlier collections like "The Uncollected June Christy with the Kentones" (1946) by offering 25 small-group titles from late 1945 and 1946, all recorded with a talented group of Kenton's players including Bob Cooper, Kai Winding, Shelly Manne, and Ray Wetzel, plus guitarist Dave Barbour.

"Way Out West", originally recorded for the Contemporary label in 1957, qualifies as an all-time Sonny Rollins classic. Culled from a 3 A.M. session with bassist Ray Brown and drummer Shelly Manne, the material collected here demonstrates why Rollins was considered the top tenor saxophone in jazz at the time of the recording. This Deluxe 60th Anniversary edition celebrates this landmark album in Rollins' career with a full second LP of rare and previously unreleased bonus material and new liner notes by Grammy-winning writer Neil Tesser.

Things sure were swingin' on this 1959 Capitol album, one of Peggy's finest and most overlooked jazz outings. Accompanied by an all-star tentet that featured Pete Candoli, Barney Kessel and Shelly Manne among its members, she tackled originals and great standards including "It's a Wonderful World"; "Ridin' High"; "I'm Beginning to See the Light"; "Alone Together", and more.

2-3-4 is an album by American jazz drummer Shelly Manne featuring performances recorded in 1962 for the Impulse! label. 2-3-4 was not a typical album for Manne. Then associated primarily with West Coast jazz, he flew from Los Angeles to New York City on February 5, 1962, by arrangement with producer Bob Thiele, to be reunited with pioneering tenor saxophonist Coleman Hawkins and pianist Hank Jones, with both of whom he had recorded at different times in the 1940s. In an unusual session lasting through the wee hours of the morning, he ended by recording one tune as a duet with Hawkins, who for the first time in his career was recorded also playing the piano.

The three mono recordings that make up this program were originally released on the Skylark and/or Tampa Records labels in the early to mid-1950s under various names including Shorty and Paul Nero. The first recordings consist of material that feature The Lighthouse All Stars and Vivien Garry. The second set features Maynard Ferguson with Paul Nero, Bob Cooper, Abe Most, Paul Smith, and others in two extended jam session numbers. The final set is by Charlie Shavers, accompanied by Tommy Dorsey band mates recorded in late 1946 or early 1947.

"Empathy" is the album that resulted when the Bill Evans and Shelly Manne & His Men were sharing the bill at New York's Village Vanguard. A session at Rudy Van Gelder's studio was set up, and the trio of Evans, Manne, and Monty Budwig (Manne's bass player) recorded the album. Because all of the musicians were out of their regular working ensembles, they felt more free to play around with the music and the resulting music is light, free, and relaxed. Songs recorded include Irving Berlin's "The Washington Twist" and "Let's Go Back to the Waltz".

Storyville now releases Hank Jones Live at Slukefter vol. 2 – the follow up to 2019’s first volume. Whereas Vol. 1 was recorded at the legendary Copenhagen Jazz Club Slukefter on June 6th 1983, this recording is from the day after, June 7th. As on Vol. 1, Jones is joined by Mads Vinding who worked with the Jones on several other visits to Europe, and recorded with him on at least one other occasion when in 1991 Jones was an invited guest to the JazzPar concerts (Hank Jones Trio, Storyville 1018416) and Shelly Manne, a close contemporary of Hank’s who was also associated with studio work in Los Angeles, even making a cameo appearance as a studio musician in the movie The Man With The Golden Arm.