191. Fred Hersch - Alone at the Vanguard (2011)

Hersch plays in his characteristically slick and lyrical style in this collection of live, solo recordings. The gently meandering set is just over an hour long but was culled from an entire week of performances at the Vanguard in  2010. Hersch's back catalog of superb trio records has given him all the leeway that could be expected from the trio format, but alone, he is free to wander a little farther from the yard, in both time and route, as with Sonny Rollins' "Doxy," or the elegant salute to Thelonious Monk's "Work." In the absence of the drums and bass, he develops sweeping melodic arcs in each piece, and displays refined senses of harmony and dynamics. With several numbers he tips his hat to inspiration from friends and figures like Robert Schumann, Bill Frisell, and Lee Konitz. My favorite piece is the disc's opener that I know as a favorite Frank Sinatra song (although it has been covered countless times since). "In the Wee Small Hours of the Morning" is rendered so poignantly as to touch the emotional depth achieved by Sinatra on the 1955 album.

166. Sonny Rollins / Rollins Plays for Bird (1956)

The medley of post-1950 Charlie Parker tunes that begins this tribute to the late Mr. Parker flows as effortlessly as a river thanks to Wade Legge's piano continuo and Max Roach's drum kit. Rollins and Kenny Dorham do most of the melody and choruses, although Roach gets a fair shake, too. He characteristically mixes it up during the front line's choruses, laying on the cymbals and hard rolls while changing from straight time to double-time and back again, adding a loping feel, building urgency, or cooling it back down as needed. Legge and bassist George Morrow are the only musicians in the quintet to never work with Parker, so there is a familiar intimacy about the music that comes from the friends honoring a friend. Dorham is relaxed and outstanding in the "Star Eyes" segment. He especially soars in "Kids Know," a Rollins original in 3/4 that the band stretches out generously. There are a lot of Charlie Parker tribute albums out there, hundreds since 1955, and some are real time wasters. This date is one of the best, the most genuine, and the most enjoyable.

135. Ryan Kisor / Minor Mutiny (1992)

The cover, which apes Chet Baker, first grabbed me. I saw a young guy, similar features, sport coat, trumpet, and dramatic lighting. I thought, okay, let's try this out. The second thing, first hearing then reading, was the personnel including Ravi Coltrane, Lonnie Plaxico, Michael Cain, and either Jeff Siegel or producer Jack DeJohnette on drums. It's a sweet debut, a sort of double debut if you count Siegel. I was immediately swept up by the beautifully lonesome "One For Miles," which evokes Davis' "Basin Street Blues" from Seven Steps to Heaven. Kisor pays through the mute and it's a spot on, glowing tribute. My reaction was, "If this guy doesn't sound like Miles!" Yet in spite of Kisor's obvious reverence for the master, the performance isn't cliche and the style is all his own. Then there's the work by Ravi Coltrane on tenor and soprano. His tone and intonation on soprano are exemplary and the choruses take possibly the most unique voice in the group. Juxtaposition of drummers Siegel and DeJohnette do not ruin the continuity. Siegel is fantastic, playing responsively in intricate patterns all around the beat, and doesn't suffer for following an experienced musician like DeJohnette. You'll find that Siegel's playing even starts the melancholy album (there is some great mood on this disc), and he is only supplanted by DeJohnette on two tracks.

76. Nat Adderley Quintet / Blue Autumn (1983)

Recorded live at the Keystone, 1983. The quintet is Nat Adderley (c), Sonny Fortune (as), Larry Miller (p), Walter Booker (b), and Jimmy Cobb (d). There's a lot going on in this tribute, and it's a bit of a mixed bag. While Cannonball isn't in attendance, it's not always obvious with Sonny Fortune blowing alto, especially on the smoldering "For Duke and Cannon." That channel is again fulfilled by the last number, which is Willis' rollicking "Tallahassee Kid." And the band pays further homage with "Book's Bossa" in the middle of the set, a form popularized by Cannonball. Booker, Cobb and Willis are like a band unto themselves, working closely while Nat haunts the wings, shouting his encouragement. He flies in and out where needed in his characteristically bright and broad tone, especially in "Fifth Labor of Hercules," wildly shaping and reshaping themes before putting it all back in the box at the end. These performances don't just showcase the soloists, though. Like any Adderley band, it's a celebration of a band, and in this case, a really good band.