Concentrating on Les Paul's mid-1940s period jazz work, this double disc set contains rare tracks and well as collaborations with masters of the genre such as Art Tatum and Nat King Cole. Paul would go on to produce pop hits with Mary Ford at Capitol records at the end of the decade, but this collection serves as an important document of his roots.

Since Paul Desmond only recorded two albums for CTI, this best-of accumulation from that label stretches the definition a bit by including Desmond appearances on other CTI albums by Jim Hall, Chet Baker, Don Sebesky, and Jackie & Roy, along with extensive samplings from the solo albums. Of course, a more sweeping idea would have been to raid Columbia's vast Dave Brubeck archives for more prime Desmond, but the archivists presumably wanted a more musically unified package. In any case, during this period Desmond was working at a very relaxed pace, recording now and then, fitting into the carefully produced small-group CTI format and a handful of orchestral sessions. He plays beautifully at all times, with Creed Taylor's production inflating the famous dry-martini alto sax tone into something fuller and lusher. Yet he didn't have too much that was new and striking to say at this stage; the earlier Creed Taylor A&M releases are more eloquent and Desmond's true Indian summer would come in his later Horizon recordings with and without Brubeck. Standouts include the lopsidedly swinging remake of "Take Ten" with Gabor Szabo on guitar; two tracks from Pure Desmond with guitarist Ed Bickert as Desmond's subdued, inspired new sidekick ("Squeeze Me," "I'm Old Fashioned"); and an absolutely gorgeous "Song to a Seagull" from Sebesky's Giant Box. As a summation of a particular period of Paul Desmond's career, there is plenty to enjoy here. ~ Richard S. Ginell