"Rejoicing" is an album by the guitarist Pat Metheny that was released in 1984 by ECM. It features the guitarist in a trio with Charlie Haden on bass and Billy Higgins on drums, both of whom played and recorded with Ornette Coleman in the late 1950s and early 1960s. In addition to his own compositions, Metheny plays three compositions by Coleman, and Horace Silver's Lonely Woman (not to be confused with the Coleman composition of the same title, which Metheny does not play on the album).

Don Cherry, Dewey Redman, Charlie Haden and Ed Blackwell came together to celebrate the work of mentor Ornette Coleman, but the repertoire of their Old and New Dreams quartet soon blossomed into a project of much wider scope, addressing also the musical experiences the players had made individually in their travels around the world. As well as superlative versions of Ornette’s “Lonely Woman“ and “Open or Close“ this highly influential album, now regard as a classic of new jazz, includes pieces by Cherry and Blackwell inspired by African music, Redman’s enigmatic “Orbit of La-Ba”, and Haden’s impressionistic “Song for the Whales”. Recorded in Oslo in August 1979 and produced by Manfred Eicher.

Live at the Hilcrest Club 1958 (originally released in 1970 by America Records as The Fabulous Paul Bley Quintet) is a live album by pianist Paul Bley, saxophonist Ornette Coleman, trumpeter Don Cherry, drummer Billy Higgins and bassist Charlie Haden recorded in California in 1958 and released on the Inner City label in 1976. The album was the first live recording of Ornette Coleman, made shortly after he recorded his first album, Something Else!!!! and featuring the group (without Bley) that would soon record the Atlantic albums The Shape of Jazz to Come (1959) and Change of the Century (1960).

In 1979 Art Pepper was recorded at two sessions that yielded two fine albums, So In Love and the New York Album. There was more first-rate material recorded in those two sessions than would fit on two LPs so difficult choices had to be made as to what material not to include on the albums released at the time. Those choices were not necessarily made on the basis of the quality of the performances but with respect to such considerations as length and congruence of repertoire within an album.

Miles Davis had publicly called him a madman. Leonard Bernstein found him, for his part, completely awesome. Few were those that didn’t have a definitive opinion on Ornette Coleman. Some kind of outlaw who preferred playing his own compositions rather than jazz classics, the American saxophonist also developed harmolodics, a theory uniting harmonics and melody. This box of ten discs compiles one of the most important era in the career of his author. Between 1959 and 1961, he released six studio albums for the Atlantic label. Six albums that are present here and spiced up with alternative takes and various bonuses, all of this of course impeccably remastered by John Webber. Albums included: The Shape Of Jazz To Come (1959), Change Of The Century (1959), This Is Our Music (1960), Free Jazz: A Collective Improvisation (1960), Ornette! (1961) and Ornette On Tenor (1961), and the compilations The Art Of Improvisers (1970), Twins (1971), To Whom Who Keeps A Record (1975) and The Ornette Coleman Legacy (1993).

Somewhere Before is a live album by pianist Keith Jarrett recorded on August 30 and 31, 1968, at Shelly's Manne-Hole in Hollywood, California. It features a performance by Jarrett, Charlie Haden and Paul Motian. The Allmusic review awarded the album 4 stars, stating, "As an example of early, unfocused Jarrett, this is fascinating material".

Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes.

1959's landscape-shifting "The Shape of Jazz to Come" is true to its title. Switching from tenor to alto sax, Coleman creates free jazz, a language where chords structures are absent and harmony gives way to improvisational whims. Ranked by Rolling Stone in the top 250 Greatest Albums of All Time, the Atlantic set finds Coleman collaborating with Don Cherry, Charlie Haden, and Billy Higgins in making a masterful work free of any identifiable chord structures. Nonetheless, melodies remain, as do engrossing repetitions of main themes.

"Byablue" is an album on the Impulse label by jazz pianist Keith Jarrett's 'American Quartet'. Originally released in 1977 it features performances by Jarrett, Dewey Redman, Charlie Haden, and Paul Motian.

"Come Sunday" marks the final collaboration between two of jazz’s most legendary players, bassist Charlie Haden and pianist Hank Jones. The album was released on the same day that Charlie Haden was inducted into the National Endowment for the Arts as an NEA Jazz Master. Come Sunday is the follow-up to the duo's classic Steal Away and is the final studio recording by Hank Jones before he passed away. The duo performs with soulful inventiveness while maintaining the songs’ emotional essence on this album of familiar gospel and Americana tunes from their childhood. Included is a swinging rendition of “Give Me That Old Time Religion,” a breathtaking cover of Ellington’s “Come Sunday” and countless others. Experience this seminal jazz album as a pristine high resolution recording.

"Mysteries" was recorded in 1975 and originally released in 1976 and features performances by Keith Jarrett's 'American Quartet'. It was produced by Esmond Edwards and recorded at Generation Sound Studios in New York City.

With saxophonist Jan Garbarek and bassist Charlie Haden along for the ride, Keith Jarrett indulges in three slow, rambling, meditative, vaguely neo-classical concertos for piano and string orchestra. While a few of Jarrett's and Garbarek's passages here and there have a syncopated jazz feeling, this is mostly contemporary classical music, perhaps even somewhat ahead of its time (it might fit in with the neo-Romantic and minimalist camps today). However, although this music can be attractive in small doses, the lack of tempo or texture contrasts over long stretches of time – particularly the nearly 28-minute "Mirrors" – can be annoying if you're not in the right blissful mood. Mladen Gutesha and the Stuttgart Radio Symphony Orchestra perform the string parts with what can only be described as commendable patience.

So In Love is an album by saxophonist Art Pepper recorded in 1979 and originally released on the Artists House label. The AllMusic review by Scott Yanow noted: "Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations".

Charlie Haden has long established himself as one of the world’s greatest bass players. Originally released as two individual Naim titles in 1994, "Charlie Haden's Private Collection Vol 1 & 2" were limited to 2,200 copies each and sold through Naim's UK Hi-Fi retailers. Re-released in celebration of Haden's 70th birthday, the release also marks Naim repertoire spanning 20 years of Haden's career, with material that has never been available for the mass market.

Naim Label has once again achieved the significant coup of recording with one of the world's best known and most respected double bassists in the world, Charlie Haden. Continuing our tradition of pairing this legend of free-jazz double-bass with whoever he wishes to play with, the great British jazz pianist John Taylor was this time top of Charlie's list.