By Alex Henderson

Although some of these classics from Atlantic's jazz catalogue have been reissued on CD before, they've never been packaged this attractively on CD until now. Sparing us the dreaded and ever-so-crackable "jewel box," Rhino provides smart gray cardboard covers that recall LPs but are CD size. And thanks to Rhino's digital remastering, the sound quality is excellent.

No jazz collection is complete without Giant Steps and My Favorite Things, two of John Coltrane's finest albums. In 1959, the tenorist joined Atlantic with Giant Steps, which could be considered his last hard bop project. With its difficult chord changes, the title song became a standard that sent many an aspiring improviser back to the shed. The CD contains alternate takes of the title song as well as "Cousin Mary" and the lovely "Naima."

When My Favorite Things was recorded the following year, Trane had jumped into modal playing 100% and did a lot to popularize that Middle Eastern-influenced approach with explorations of "Summertime," "But Not For Me," "Every Time We Say Goodbye" and the title song. With pianist McCoy Tyner, bassist Jimmy Garrrison and drummer Elvin Jones at his side, Trane led the most legendary jazz group of the early-to mid 1960s.

Like so much of Ornette Coleman's work, Free Jazz isn't easy to absorb but is ultimately quite rewarding. When this 1960 session was recorded, atonal free jazz was a radical, daring new idea--and the innovative altoist did more than anyone to show how liberating this type of playing could be. Free Jazz unites his regular sidemen (trumpeter Donald Cherry, bassist Billy Higgins and drummer Charlie Haden) with Eric Dolphy (bass clarinet), Freddie Hubbard (trumpet), Scott LaFaro (bass) and Ed Blackwell (drums). Though avant garde playing wasn't Hub's forte, he rises to the occasion nicely.

Charles Mingus may have been an abusive psycho who believed in bopping his sidemen when he was displeased, but whatever his character flaws, the bassist was a wealth of creativity. Like other projects he did for Atlantic, Blues & Roots is as rootsy as it is radical. As abstract and experimental as things get on "Cryin' Blues," "Wednesday Night Prayer Meeting" and "Tensions," the earthiness of blues and gospel comes through consistently. Mingus led a nonet for this 1959 session, and his inspired soloists include altoists Jackie McLean and John Handy, tenorist Booker Ervin, baritonist Pepper Adams and pianist Mal Waldron.

Many jazz critics were clueless when it came to Trane, Coleman, Mingus and Roland Kirk. When Kirk played three horns at once, they tended to dismiss him as a novelty. But the blind reedman was truly a genius, and his brilliance comes through on 1967's The Inflated Tear. Kirk excels on tenor as well as flute, clarinet and the English horn, and his writing is first-rate on everything from the melancholy title song and the rueful "The Black And Crazy Tears" to the angular "A Laugh For Rory." Another high point of the CD is Duke Ellington's "Creole Love Call," which gets a modal makeover. Superb.