Benny Carter: "Further Definitions" (Impulse!) Dial-a-track code: 1971

For this second CD reissue of Carter's classic 1961 Further Definitions, Impulse has finally done the decent thing by joining it with its near-classic 1966 sequel, Additions To Further Definitions; it marks the sequel's first appearance on CD. Carter, who farmed the alto trinity with Parker and Hodges, is possibly the greatest writer of saxophone parts in jazz, an opinion reinforced by his triple play - as player, arranger and composer - on these marvellous performances.

On the first album, he's allied with Coleman Hawkins, Phil Woods and Charlie Rouse in a powerful sax section; on the second, he's joined by Bud Shank, Buddy Collette, Teddy Edwards and Bill Hood in another. With propulsive rhythm sections on each, the results are simply mouth-wateringly good, mainstream jazz at its vibrant best.

Tony Williams: "Young At Heart" (Columbia) Dial-a-track code: 2081

Almost certainly the great drummer's swan-song. Williams whose recent death from a heart attack gives an unintended, blackly ironic edge to the album's title - made this beautiful trio session last September with Mulgrew Miller (piano) and Ira Coleman (bass). Anyone who knows only the explosive drumming with which he made his name with Jackie Mclean and Miles Davis may be surprised by his understatement and subtlety on the savoury trio playing here.

But in this meeting of minds, perhaps the greatest joy is the delightful reassessment, harmonically and melodically, of some familiar material, standards like On Green Dolphin Street and Body And Soul, jazz originals such as How My Heart Sings and Dis Here and even a Beatles tune, Fool On The Hill. Quite a farewell.

Sonny Stitt/Paul Gonsalves: "Salt And Pepper" (Impulse!) Dial-a-track code: 2191

Saxophonist Sonny Stitt always stirred himself to give of his best when the company really mattered. Here, on two 1963 sessions first released as Salt And Pepper and Now!, it did. On the first, the condiments were Stitt and tenor Paul Gonsalves, seasoned with Hank Jones (piano), Mill Hinton (bass) and Osie Johnson (drums) and liberally sprinkled over a dish of good standards and the blues.

It worked so well that Stitt came back months later with Jones and Johnson, plus Al Lucas (bass) presumably Gonsalves and Hinton were out of town - to flavour a similar musical stir fry. As the jazz argot puts it, they cooked; the results are very savoury examples of unpretentious but high-quality blowing sessions.