Subconscious-Lee
Lee Konitz
1950 [Prestige]

Altoist Konitz was an original from the start - playing an eminently accessible laid-back style of jazz that defied both bop and cool categorisation. The earlier tracks from 1949 are led by the equally-original pianist Lennie Tristano and later sessions feature Warne Marsh on tenor sax. Beware of an inferior CD under the same title.

Change of the Century
Ornette Coleman
1959 [Atlantic]

Free jazz icon Ornette Coleman's first album for Atlantic didn't hit the shops until 1960 after the legendary Shape of Jazz to Come had been released. Both are groundbreaking records, if somewhat pretentiously named. The music relies on the instincts the altoist's talented quartet which includes Don Cherry, Charlie Haden and Billy Higgins.

The Shape of Jazz to Come
Ornette Coleman
1959 [Atlantic]

Shape is generally credited with being the prototype recording for the free jazz movement. It was universally lambasted by critics on release owing to its lack of conventional structure and harmony. This music is quite literally free - it goes in any direction the lead player wants to take it, while the "rhythm" section tries to keep up.

Further Definitions
Benny Carter & His Orchestra
1961 & 1966 [Impulse!]

Altoist/arranger Benny Carter made both of his two Further Definitions albums with mid-size bands featuring sax to spare. Old friend Coleman Hawkins provides the strongest tenor accompaniment on the first set - generally regarded as the better of the two albums. A highlight of the follow-up is some superb playing by guitarist Barney Kessel.

Let Freedom Ring
Jackie McLean
1962 [Blue Note]

A seminal post-bop record widely acclaimed for its influence on the free jazz movement. McLean manages to break free of chordal restraints while maintaining his harmonic sensibilities. Made with a quartet, drummer Billy Higgins is the other standout performer. One of 21 albums McLean made for Blue Note between 1959-67.

Rights of Swing
Phil Woods
1961 [Candid]

While fronting an octet playing an original five-part suite was a bit of an oddity for altoist Woods, this set certainly stands as one of his best. The music finds Woods moving beyond bop and cool charting a course through post-bop arrangements. The stellar support includes Curtis Fuller on trombone and pianist Tommy Flanagan.

Easy Living
Paul Desmond
1965 [Bluebird]

Desmond's work with pianist Dave Brubeck has tended to overshadow the altoist's own recordings, having penned the mega-hit 'Take Five'. Contractual obligations prevented Desmond from recording with a piano-player while with RCA. As this adventurously cool set shows, his teaming with guitarist Jim Hall was a terrific alternative.

Lenox Avenue Breakdown
Arthur Blythe
1978 [Columbia]

Here straddling the line between the avant-garde and post-bop, alto saxophonist Arthur Blythe is perhaps best known for his association with the West Coast underground movement. An impressive lineup that includes guitarist James Blood Ulmer and drummer Jack DeJohnette ensure that this album will continue to grow in stature.