60. James Carter / Jurassic Classics (1994)

On Jurassic Classics, Carter embraces seven of the most preeminent tunes and treats them the way they want to be treated. It's not a statement of Carter's ideas, and less an honor to the composers than a celebration of the music's essence. The title is funny. Because time-wise these tunes are old, but through Carter's explorations, they live and demand respect on the same tier as their composers. Throughout, the leader does lengthy solos on soprano, alto and tenor sax. Craig Taborn (piano), Jaribu Shahid (bass), Tanni Tabbal (drums) perform seamlessly as a group. Taborn's frenetic and percussive piano keeps the blood up and frequently encourages Carter in wild, searching runs. Like Carter, Taborn is a talented player who coaxes many moods and textures out of his instrument. I like the group's mimicry of a train in "Take the 'A' Train." It's novel, but effective. "Equinox" is the album's game changer, Carter using extended techniques in fitful statements of power. Clifford Brown's "Sandu" is a swanky touch, so is the short but unforgettable "Oleo," which has roots with Mr. Rollins.

28. Benny Golson / Tenor Legacy (1998)

This album is essential. The explosive session is very natural and everyone is clearly enjoying it. Veteran Golson teams up with Branford Marsalis, James Carter and Harold Ashby to pay tribute to Dexter Gordon, Coleman Hawkins, Lester Young, Coltrane, and a half dozen more. The atomic "Lester Leaps In" places Golson's mature phrasing and fat tone between the young and more adventurous Carter, whose abrasive squall is the ideal foil. Ashby joins in for good measure, and the three-way melee is one hell of an opener. Golson gets a single track alone, the sweet ballad "In Memory of," dedicated to Don Byas accompanied by lush block chords and the rainy touch of sliding brushes. I also really enjoyed the take "My Favorite Things" a la Coltrane. The feel is much different than Trane's. Dwayne Burno's busy bass is another animal compared to the hauntingly ambiguous static elements that were played by Steve Davis, and pianist Geoff Keezer stands out above the assembled reeds and almost steals the show, alternating between shifting modalities and improvised linear melody.