Jazz — All Formats  

A sweet Japanese set from Toshiko Akioshi – recorded at the Blue Note in Tokyo, with a group that really replicates the sound of her big band from the 70s! Key partner from those years – Lew Tabackin – is in the group playing loads of great tenor and flute solos – and other players include a range of younger Americans, including Jim Rotondi on trumpet and Jim Snidero on alto and flute – all working in that great Akioshi/Tabackin formation – tight head arrangements, but lots of room to soar out on solos on the longer tracks! Terumasa Hino also guests a bit on trumpet – and titles include "Hirohiko's Delight", "The Village", "Lady Liberty", "Unrequited Love", and "Hope".

A landmark concert from the mid 80s – one held to honor the resurrection of the Blue Note label, featuring a wealth of some of the best players for the label – from the 80s back to the 50s bebop years. This first volume in the 4 LP series features centered around Herbie Hancock and Bobby Hutcherson, with appearances by Freddie Hubbard, Joe Henderson, Ron Carter, Tony Williams and James Newton. Side one features the group nicely stretching out on a quintet take of "Canteloupe Island" and a sextet reading of "Record A Me", and side two has a quintet take of "Little B's Poem", a trio take of "Bouquet" and a quartet take of "Hat & Beard".

Features Sidney Bechet on clarinet and Wild Bill Davison on trumpet!

An oft-overlooked gem from 70s Blue Note – and a great little record that's especially nice for the Bobby Hutcherson material! As you'd guess from the title, there's a larger orchestra working with the artists here – and in Hutcherson's case, this creates the same sort of soulful, sophisticated feel as his excellent Conception The Gift Of Love album – vibes mixed with strings, underscored by hip rhythms, and coming off as a wonderful extension of Bobby's earlier 70s work. His group features Manny Boyd on tenor and soprano, and George Cables on piano – and arrangements are by Dale Oehler, on tracks that include "Now", "Slow Change", and "Hello To The Wind" – all numbers co-penned with Eugene McDaniels, but done here as instrumentals. Carmen McRae sounds great in the setting too – similar to her other excellent Blue Note sides of the mid 70s – with Bill Holman arrangements on tunes that include "With One More Look At You", "Star Eyes", "The Man I Love", and "Sunday". Earl Klugh rounds things out with his own sweet guitar, plus keyboards from Onaje Allen Gumbs – set to Dick Hazard arrangements of "Angelina", "The Shadow Of Your Smile", and "Cabo Frio".

One of the great lost ones from Blue Note – hard to find in any pressing, and a killer hardbop session from the days when the label could crank them out with a quality unmatched by other labels! Clifford Jordan's leading an unusual group here – a septet, which is a bit of a change from his smaller combos – with Lee Morgan on trumpet, Curtis Fuller on trombone, John Jenkins on alto, Ray Bryant on piano, Paul Chambers on bass, and Art Taylor on drums! At first glance, the lineup might look like more of an unstructured blowing session – but there's a lot more cohesion here than you'd guess – kind of an under-recognized chapter of Jordan's early musical vision, and one that marks him right away as a visionary leader as much as the tenor talent he was known for. Titles include "Not Guilty", "St. John", "Blue Shoes", and "Ju-Ba".

Madlib invades Blue Note! He gets free reign of the catalog for this mix of sampler genius and live band interpretations, too, as/with Ahmad Miller, Yesterdays New Quintet, Malcolm Catto, Medaphoar, and others from the Stones Throw camp. This one's truly a conceptual triumph, if there ever was such a thing – one of the greatest hip hop producers alive, given carte blanche with the source beats of the century! Madlib's Blue Note crates are heavily weighed in the mid 60s through mid 70s electric beats that often get the shaft in mainstream jazz round-ups, but floor the beathead world into overdrive. Re-interpretations, remixes, and revisions are spliced seamlessly with the source samples, creating a whole new world where hip hop and late model live funk not only co-exists with classic Blue Note jazz, but it actually draws a linear transition between the 2 genius art forms. Beautiful stuff – if the album isn't the most original idea to come along all of these years into the hip hop & jazz underground, it's certainly one of the most perfectly realized projects of its kind, ever! It's one for the time capsule – easily Madlib's masterpiece, and pure funky sample wizardry by any standard! Includes Monk Higgins' "Slim's Return" interpreted by Ahmad Miller and DJ Lord Such on cuts, "Donald Byrd's "Distant Land", "Ronnie Foster's "Mystic Bounce", Yesterday's New Quintet's adaptation of Wayne Shorter's "Footprints", Madlib Invazion's "Funky Blue Note", the Joe McDuphrey Experience take on Horace Silver's/Herbie Hancock's "Peace/Dolphin Dance" and lots more.

An extraordinary document of Mobley's earliest recordings for the Blue Note label! This box collects some of Mobley's hardest to find recordings and comprises of the LPs Hank Mobley Quartet, Hank Mobley Sextet, Hank Mobley & His All Stars, Hank Mobley Quintet, Hank, Hank Mobley, Curtain Call, Poppin' and Peckin' Time! Whew! If you know any of those albums, you know this is one whopping batch of hard bop that showcases the tenorist's soul jazz roots beautifully. The sidemen hear read like a who's who of the east coast scene of the 50s, with Horace Silver, Art Blakey, Donald Byrd, Lee Morgan, Milt Jackson, Art Farmer, John Jenkins, Sonny Clark, Kenny Dorham, Pepper Adams, Paul Chambers, Wynton Kelly and Philly Joe Jones all making appearances. There's a total of 56 tracks spread out over 6 discs, including titles like "Hank's Prank", 'Walkin' The Fence", "Just Coolin'", "Touch & Go", "Double Whammy", "Barrel Of Funk", "Lower Stratosphere", "Mobley's Musings", "Funk In Deep Freeze", "Wham & They're Off", "Startin' From Scratch", "Hi Groove, Low Feedback", "Double Exposure", "Don't Get Too Hip", "Poppin'", "East Of Brooklyn", "High & Flighty" and "Peckin' Time".

A great collection of work by Fats Navarro – his complete Blue Note recordings, and a masterful collection of trumpet-based bop! There's are a total of 26 songs on this 2 LP set and several groups that Navarro played with are represented – The Tadd Dameron Sextet & Septet, The McGhee/Navarro Boptet and Bud Powell's Modernists. Other members of these groups included Charlie Rouse, Wardell Gray, Kenny Clarke, Milt Jackson and many more. Titles include "Our Delight", "The Chase", "Dameronia", "Lady Bird", "Double Talk", "The Skunk", "Dance Of The Infidels", and "Wail".

The "flipside" of Ike Quebec's legendary run of albums for Blue Note – a huge set of material recorded only as 45 singles during his same stretch at the label! Although Quebec's work as a soulful tenorist has been well documented and reissued over the years on albums like Blue & Sentimental and Heavy Soul, Ike also cut a fair number of singles aimed at the jukebox and radio crowds of the time – tunes that were more in the gutsy tenor and organ mode recorded by labels like Prestige or Chess, and which never made it onto any of the full-length sets for Blue Note! Titles include "Buzzard Lope", "Zonky", "Blue Monday", "Later For The Rock", "Dear John", "Blue Friday", "Ill Wind", "Mardis Gras", and "Everything Happens To Me".

An overlooked gem from Blue Note – a special live performance that brings together some of the label's funkiest and most soulful artists of the 70s! The set's somewhat unusual for Blue Note at the time – especially given the label's increasingly studio-driven approach to jazz, with projects by the Mizell Brothers and others – yet given that bent, the whole thing's a great illustration of the vibrancy of all these artists always from the studio – playing live and extremely funky! As the title implies, the set was recorded live at the Roxy in LA – with players who include Donald Byrd, Ronnie Laws, Gene Harris, Bobby Hutcherson, and Alphonse Mouzon – all coming together in warm unity to show that the spacious sounds of Blue Note could also be crafted in a live setting, and not just under closely-watched studio help arrangers and producers. Carmen McRae sings on a number of tracks, and the album overall does a good job of presenting the material in concert-like setting – and some of the longer tracks feature some mighty nice jamming solos. Titles on this first volume include "New York City", "Just Like The Sun", and "Without A Reason" by Alphonse Mouzon; "Captain Midnight", "Night Breeze", and "Always There" by Ronnie Laws, and "Places & Spaces" and "Dominoes" by Donald Byrd – both of which were actually recorded in Central Park.

An overlooked gem from Blue Note – a special live performance that brings together some of the label's funkiest and most soulful artists of the 70s! The set's somewhat unusual for Blue Note at the time – especially given the label's increasingly studio-driven approach to jazz, with projects by the Mizell Brothers and others – yet given that bent, the whole thing's a great illustration of the vibrancy of all these artists always from the studio – playing live and extremely funky! As the title implies, the set was recorded live at the Roxy in LA – with players who include Donald Byrd, Ronnie Laws, Gene Harris, Bobby Hutcherson, and Alphonse Mouzon – all coming together in warm unity to show that the spacious sounds of Blue Note could also be crafted in a live setting, and not just under closely-watched studio help arrangers and producers. Carmen McRae sings on a number of tracks, and the album overall does a good job of presenting the material in concert-like setting – and some of the longer tracks feature some mighty nice jamming solos. Titles on this second volume include "Music", "Them There Eyes", "You're Everything", and "Paint Your Pretty Picture" by Carmen McRae; a medley of Brazilian tracks by Earl Klugh – including "Like A Lover", "A Felicidade", "Manha De Carnaval", and "Samba De Orfeu"; and a long track that involves all the artists as the Blue Note All Stars, on "Blue Note 76".

Blue Note Now – and Blue Note Then – a cool little set that mixes contemporary grooves from the Blue Note catalog with some of the older gems that made the label great back in the 50s, 60s, and 70s! In truth, some of the contemporary cuts go back more than a few years – but come together nicely on CD1, to show the way the label's really grown in the past decade or two – moving into great soulful territory with tracks like "Little B's Poem" by Quasimode, "Freedom Dance" by Lionel Loueke, "It's All Over Your Body" by Jose James, "Black Radio" by Robert Glasper Experiment, "Soin Something" by Soulive, and "Time After Time" by Cassandra Wilson. CD2 features loads of older killers – including "Feel Like Makin Love" by Marlena Shaw, "Harlem River Drive" by Bobbi Humphrey, "Kathy" by Horace Silver, "Adams Apple" by Wayne Shorter, "Afrodisia" by Kenny Dorham, "Black Byrd" by Donald Byrd, and "Speedball" by Lee Morgan.

The Brazilian side of Blue Note Records – a double-length collection that mostly features bossa-inspired numbers from the 60s, but also includes a few gems from more recent years too! Unlike Verve or Impulse, Blue Note rarely went straight into bossa nova – and instead, the label's artists often came at the music from a different direction – using bossa themes and inspiration, mixed with their own hard bop impulses – and often served up in a really unique groove in the end! This package is a great illustration of that special magic – tracks that go way past the usual, and which still sound amazingly fresh and visionary all these many years later. Titles include "Wave" by Stanley Turrentine, "Blue Bossa" by Joe Henderson, "Sandalia Dela" by Duke Pearson, "Book's Bossa" by Donald Byrd, "Rio" by Lee Morgan, "Recado Bossa Nova" by Hank Mobley, "Swingin The Samba" by Horace Silver, "Back Down To The Tropics" by Charlie Rouse, "Love For Sale" by Dexter Gordon, "Latona" by John Patton, "O Amor Em Paz" by Cannonball Adderley, "Manha De Carnaval" by Ron Carter, "Waters Of March" by Cassandra Wilson, and "Triste" by Dianne Reeves.

A bit trippy, but also pretty darn funky – a wonderfully groove-conscious assortment of work from Blue Note and some other EMI-related labels – most of it from the tail end of the 60s and the hip start of the 70s! There's a bit less psychedelia here than you might guess from the title, but that's ok with us – as the track list is wonderful – and features some of the hippest, most mature grooves coming out at the time – a blend of cuts that ranges from righteous soul jazz to the soaring productions of Larry Mizell! Titles include "Howling For Judy" by Jeremy Steig, "Streets Of Calcutta" by Ananda Shankar, "Light My Fire" by John Andrews Tartaglia, "Wind Parade" by Donald Byrd, "Hallelujah I'm Coming Home" by Candido, "Acid Pot Or Pills" by Horace Silver, "Music Is My Sanctuary" by Gary Bartz, "Harlem River Drive" by Bobbi Humphrey, "Cristo Redentor" by Donald Byrd, and "Love For Sale" by Gene Harris. 12 tracks in all!

Amazing work from the 78rpm days of Blue Note!

Early, early Blue Note sides, from the dawn of the label, a transitional period in jazz. These sessions, led by Benny Morton and Jimmy Hamilton are truly hard-to-get in their original format, not to mention in any pressing, and these recordings reflect a side of the Blue Note catalog that's rarely considered any more. These swingtet sides feature the cream of the crop of the big band era, performing in smaller tighter groups that let them move around New York's urban jazz scene more easily. Some of the finest soloists of the era are caught here in a unique setting, including Barney Bigard, Ben Webster, Ray Nance and Harry Carney. As you'd expect from the performance standards of the day, the performance are short, tight and sweet, and include "MY Old Flame, "Conversing In Blue", two takes of "The Sheik Of Araby" and "Limehouse Blues" by Benny Morton's All Stars, "Cherry", "Rosetta", "The World Is Waiting For The Sunrise" and "Wiliphant Winnie" by the Sammy Benskin Trio and "Old Uncle Bud", "Blues For Clarinets", "Slapstick" and "Blues In My Music Room" by Jimmy Hamilton & The Duke's Men.

A treasure for all jazz fans worldwide! As is known to many, the great Blue Note label often recorded more material than it could issue on a regular basis – and some of the label's best bits often got lost in the cracks, and never saw the light of day! Over the past 30 years, many of these lost albums have come out on their own – but there's still been a lot of great single tracks that have never been issued before. This CD corrects that trend, by bringing together a sumptious batch of single titles from groups that are hardly (or never) represented in Blue Note's regular line of releases. You'll get Charlie Rouse leading a quintet on the track "One For Five"; Tadd Dameron heading up a large group on "Bevan Beeps", "The Elder Speaks", and "Aloof Spoof"; Sonny Stitt wailing with Dexter Gordon on "Lady Be Good"; Fred Jackson playing tenor with John Patton and Grant Green on "Cowbell Boogie"; Ike Quebec blowing with The Three Sounds on "Blues On Trial", and Herbie Hancock leading a very hip 2-guitar group on the track "Don't Even Go There". Like finding a time machine, this CD will introduce you to a world of jazz history you never even imagined!

Sublime late live work from Bill Evans – a well-recorded performance for French radio, and one that really stands out from some of the scratchier late 70s concerts on the market! Bill's working here with a sound as sensitive and picturesque as the cover image – never pushing things too hard, but letting each tune unfold organically in waves of sound few other players could conjure up! Trio musicians include Marc Johnson on bass and Joe LaBarbera on drums – and titles on this first volume include "Quiet Now", "My Romance", "Noelle's Theme", "I Loves You Porgy", and "Up With The Lark".

Lean, righteous blowing from the legendary Frank Foster – one of a handful of extremely hip sessions he cut in the 60s under his own name! The album's the only record Foster ever did for Blue Note – and we dare say it's even better than his previous 60s work on Prestige and Impulse – with a quality that's even darker, even deeper, even more advanced from his earlier years with Basie. There's a rolling, joyous groove to many numbers – that late 60s take on soul jazz that made for so many great tracks on albums by Hank Mobley or Lee Morgan near the end of the decade. Foster keeps things tight, but he's also got an expansive vision too – an edge in the horns that points the way towards some of the chances he'd take in the 70s, but which is still wrapped around a leanly leaping soul jazz groove! Foster wrote 5 of the 6 tracks on the album, and he's working here with a sextet that includes Garnett Brown on trombone, Marvin Stamm on trumpet, and Richard Wyands on piano, who brings in some offbeat notes and colors throughout. Rhythm is by the excellent team of Bob Cranshaw on bass and Mickey Roker on drums – and titles include "Seventh Avenue Bill", "Stammpede", "Little Miss No Nose", "Manhattan Fever", and "Loneliness".

We put the catalog number in the title of this one because it seemed that Blue Note was putting out too many title-less Hank Mobley albums during the late 50s. Who cares, though? This album's a great batch of hardbop tracks that show Mobley at his finest, and which hardly need a title to hang them together. The group's a sextet, with little-known reed player Curtis Porter on alto and tenor, plus Sonny Clark on piano and Bill Hardman on trumpet. Titles include "Mighty Moe & Joe" and "News" (both written by Porter), plus Mobley's "Double Exposure". Prime hardbop material, and with a great cover that has Mobley looking like an alien behind a microphone!

One of Lee Morgan's beautiful early sets for Blue Note – and proof that he was emerging as a youthful lyricist even in his hardbop days! The group on the session is a sextet – with rock-solid Hank Mobley on tenor, Horace Silver on piano, Paul Chambers on bass, Charlie Persip on drums – plus the highly obscure Kenny Rodgers on alto – making his only Blue Note appearance ever! As on Morgan's third album for Blue Note, most of the tracks are composed by Benny Golson – perfectly penned numbers that maintain a hardbop swing, but which let Morgan explore things with a bit more depth than on some of his sessions for Savoy! Titles include "Slightly Hep", "D's Fink", "Whisper Not", and "Latin Hangover".

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark".

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark".

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark". Includes bonus track "Alison's Uncle".

Killer work from the classic late 50s years of the Jazz Messengers – and an album that Blue Note didn't choose to release until the end of the 70s! The record's a historic one – as it mark's Wayne Shorter's first session with the group, and the first time that they recorded his great composition "Lester Left Town" – a wonderful tune that sounds a bit different here than on the later Jazz Messengers recording of the composition. Shorter's talent is already burning brightly at this point – as is that of trumpeter Lee Morgan – and other group members include Walter Davis Jr on piano, Jymie Merritt on bass, and Blakey on drums. Titles include "Lester Left Town", "Haina", "The Midget", "Celine", and "Africaine", which has a guest appearance by Dizzy Reece on congas!

One of Art Blakey's first true moments of genius! This transitional version of the Jazz Messengers included two parts – Lee Morgan and Bobby Timmons – of the holy Morgan/Shorter/Timmons trilogy, and it's also got the added bonus of Benny Golson on tenor, who was at the height of his power at this point. The record really shines in ways that few Blakey albums shone since his days with Horace Silver – in that it's a forum for fresh new writing, most importantly Golson's landmark compositions "Blues March" and "Along Came Betty", and Timmons' instant classic "Moanin". The whole album's wonderful, though, and Golson's edgey modernism adds a strong dimension to the group's usual soulful romping groove!

One of the many albums that the Jazz Messengers recorded live at Birdland, and one that features a transitional lineup for the band that has new guard players Lee Morgan on trumpet and Bobby Timmons on piano, and old guard player Hank Mobley on tenor. Everyone grooves in a very hard fashion – and the set's an excellent link between the raw mid 50s version of the Messengers, and the groundbreaking 1960 edition. The set list of this first volume includes "Hipsippy Blues", "Justice", "Just Coolin", and a nice version of "Close Your Eyes".

Pounding! This is the long-awaited re-release of a lost session that Blakey recorded in 1958, with a triple-drum rhythm group that included himself, Philly Joe Jones, and Roy Haynes – plus some additional conga work by Ray Barretto. Unlike other Blakey "drum orgy" sessions, though, this one's got a much straighter jazz feel – with plenty of solo space for trumpeter Lee Morgan and pianist Bobby Timmons. The drums work together in fantastic interplay – with Haynes' lyricism, Blakey's crackle, and Jones' raw power all providing perfect complement to each other while Morgan solos freely out front as the only horn (a role that he rarely ever got to take!) The set also includes 2 amazing other tracks that feature only bass and drum (not drum n bass!) interplay between Blakey and the late Paul Chambers – making for a total of 8 incredible tracks in all, with titles that include "Lee's Tune", "Blakey's Blues", "Lover", and "Drums In the Rain". Great stuff, and with notes by Kenny Washington, too!

The rarest of all of Art Blakey's percussion group projects – and quite possibly the best, too! The session features Blakey at the head of a strong mix of jazz and percussion players – with Art Taylor and Philly Joe Jones on the regular drum kit, Donald Byrd on trumpet and Ray Bryant on piano, and a host of assorted percussion work by the likes of Ray Barretto, Sabu Martinez, Victor Gonzalez, Julio Martinez, and others. The resultant sound is incredible – very full, rich, and earthy – and done in a way that interweaves African and Latin percussion styles with straighter American jazz! A few cuts have chanting by Blakey and Sabu – and titles include "The Feast", "Mirage", "Lamento Africano", "O'Tinde", "Swingin Kilts", "Dinga", "Reflection", and "Aghano".

One of the greatest albums ever for Blue Note – and the only album recorded by tenor player Tina Brooks that was issued during his lifetime! The album's nearly perfect – and features Brooks' edgey tenor set in an all star group that includes Duke Jordan on piano, Freddie Hubbard on trumpet, Sam Jones on bass, and Art Taylor on drums. Brooks had blown on other Blue Note sessions before, but here, working as a leader, his sound is tremendous – vaguely to the left of center of some of his other tenor counterparts on the label, but with an equally impeccable approach to soul and rhythm. Titles include "Miss Hazel", "Good Old Soul", "Up Tight's Creek", and "Theme For Doris".

Seminal west coast recordings by Clifford Brown – recorded in LA in 1954, with a mixture of hard bop and lyricism, in that sparkling mode that Brownie left as his indelible imprint on the west coast scene of the 50s! Players include Bob Gordon on baritone, Stu Williamson on trombone, Zoot Sims on tenor, and Russ Freeman on piano – and Jack Montrose arranged the set. Titles include "Tiny Capers", "Bones For Jones", "Joy Spring", "Finders Keepers", and "Daahoud".

One of the best Kenny Burrell albums ever! Kenny's in fine form in this rare live set, recorded in 1959 at the Five Spot with a group that includes the legendary Tina Brooks on tenor, plus Bobby Timmons or Roland Hanna on piano, Ben Tucker on bass, and Art Blakey on drums. The band is more firey than some of Kenny's other recordings – and that seems to drive him onto harder solos than usual, as you'll hear on tracks like "Birk's Works", "36-23-36", and "Hallelujah". Nice stuff!

An incredible album from Donald Byrd – hard, funky, and with more of an edge than most of his other Blue Note work! The sound on the album's incredibly sinister – really concerned with downward chord turns in moody rhythms – played with a real sense of soul by a frontline that features Byrd, Hank Mobley, and Sonny Red. Cedar Walton drives most of the tunes with hypnotic lines on piano – and the rest of the rhythm's cooked up by Walter Booker on bass and Billy Higgins on drums. Includes the massively hard funky title cut, "Blackjack", plus "Beale Street", "Loki", and some other nice groovers. Red and Mobley are amazing, and Byrd's solos are some of his cleanest and leanest of the 60s!

Classic soul jazz material from trumpeter Donald Byrd – one of his most sinister (and most rare) albums for Blue Note! The group's a quintet, with frequent bandmate Pepper Adams on baritone, Duke Pearson on piano, and Philly Joe Jones on drums – all grooving with some of the tightness heard on other Adams/Byrd dates, but also a warmer, more open-ended approach to the music, especially on the solos! The tracks slink along with a dark little groove – and although Pearson's piano is often sweetly lyrical, it also has a nice hard sound that works well with the sharp-edged horn lines of Byrd and Adams. The album's very much in the vein of the pair's work on the Warwick label during the same time – and with excellent compositions that include "Say You're Mine", "Duke's Mixture", "The Cat Walk", and "Hello Bright Sunflower".

Classic soul jazz material from trumpeter Donald Byrd – one of his most sinister (and most rare) albums for Blue Note! The group's a quintet, with frequent bandmate Pepper Adams on baritone, Duke Pearson on piano, and Philly Joe Jones on drums – all grooving with some of the tightness heard on other Adams/Byrd dates, but also a warmer, more open-ended approach to the music, especially on the solos! The tracks slink along with a dark little groove – and although Pearson's piano is often sweetly lyrical, it also has a nice hard sound that works well with the sharp-edged horn lines of Byrd and Adams. The album's very much in the vein of the pair's work on the Warwick label during the same time – and with excellent compositions that include "Say You're Mine", "Duke's Mixture", "The Cat Walk", and "Hello Bright Sunflower".

A Donald Byrd treasure – and an album that was almost left in the vaults by Blue Note, until they briefly released it at the end of the 70s! The cover and title are a bit unfamiliar, but the music is right up there with Byrd's classic sessions with baritonist Pepper Adams – a great player here, with a deftness on his horn that's incredible – matching all the sharp changes and soulful undercurrents of Byrd's sparkling trumpet! There's a nice hard sound to the whole thing – almost the raw power of the pair's albums for the Warwick label – and as with those, Herbie Hancock is on piano – giving the whole thing an excellent soul jazz groove that really kicks the main soloists into action! Titles include "Great God", "I'm An Old Cowhand", "That's All", "You're Next", and "Chant".

A Donald Byrd treasure – and an album that was almost left in the vaults by Blue Note, until they briefly released it at the end of the 70s! The cover and title are a bit unfamiliar, but the music is right up there with Byrd's classic sessions with baritonist Pepper Adams – a great player here, with a deftness on his horn that's incredible – matching all the sharp changes and soulful undercurrents of Byrd's sparkling trumpet! There's a nice hard sound to the whole thing – almost the raw power of the pair's albums for the Warwick label – and as with those, Herbie Hancock is on piano – giving the whole thing an excellent soul jazz groove that really kicks the main soloists into action! Titles include "Great God", "I'm An Old Cowhand", "That's All", "You're Next", and "Chant".

A rock-solid set from Donald Byrd and a great group of players – a record that's got the same sharp edges and dark undercurrents of late 60s classics like Black Jack, Mustang, and Slow Drag! As with those gems, this album's got Donald really experimenting a bit more – especially with the rhythms – which are put forth by a hip trio that features Chick Corea on piano, Miroslav Vitous on bass, and Mickey Roker on drums! But almost even better is the frontline – with Sonny Red making one of his sublime appearances with Byrd, blowing alto with an edge that's amazing – and frequent partner Pepper Adams, adding plenty of baritone on the deep end. The whole thing's great – oddly unreleased until the start of the 80s – and titles include "Samba Yanta", "I Will Wait For You", "Blues Medium Rare", "The Creeper", "Chico-San", "Early Sunday Morning", and "Blues Well Done".

A tasty collection of goodies that Donald recorded with the great Larry Mizell during the early 70s. Certainly not his all-inclusive best, but some of our favorite material by this legendary soul jazz trumpeter. The tracks have a sparkling electric jazz funk sound, with amazing production that keeps them drifting along with a very soulful vibe. Titles include "Sky High", "Street Lady", "Change", "Stepping Into Tomorrow", "Black Byrd", and "Flight Time".

Sweet electric funk – in a very trippy style! Before Donald Byrd hooked up with Larry Mizell and started recording his smooth fusion grooves of the mid 70's, he recorded this gem – kind of a "lost" album that has Donald working in an open-ended electric sound – one that's clearly inspired by the experiments of Miles Davis, but which has a generally funkier feel overall! The tracks are very long – with lots of spiralling keyboard and trumpet solos – and the hip players on the set include Bobby Hutcherson, David T Walker, Wilton Felder, and Harold Land. We love the tracks on this set – especially "The Emperor" and "The Little Rasti", which are both over 15 minutes long, and have a haunting spacey sound that's a departure from Donald's usual work!

Excellent transitional album by Byrd – transitional in that it marks the difference between his hard soul jazz funky recordings from the 60's and his easier electric recordings from the early 70's. Donald's playing in a sweet mellow style, with beautiful strident reaching solos that float over soul jazz arrangements for a larger group that includes Duke Pearson on electric piano, Frank Foster on tenor, Jimmy Ponder on guitar, and Joe Chambers on drums. 4 long tracks – "Weasil", "I Love the Girl", "Fancy Free", and "The Uptowner".

Donald Byrd's second foray into the "with voices" genre – done with the same arranging talents of Coleridge Perkinson, the lyrical modernist who made Donald's A New Perspective such a success! The group that plays with Byrd is excellent, and includes Freddie Roach, Herbie Hancock, Stanley Turrentine, and Grant Green – all of whom blend beautifully with the choir, and know when to lay back, and when to come out strong with hard rhythm playing and good solos. Donald Byrd and Duke Pearson wrote all of the tunes, and the set's got some beautiful shimmering solos by Byrd which just float dreamily over the album's gorgeous orchestrations. With the tracks "Pearly Gates", "March Children", "Brother Isaac", and "I'm Tryin' To Get Home".

One of Byrd's most fantastic records for Blue Note, and one of the three that he recorded with Sonny Red on alto sax. Byrd and Red work magnificently together, and the two of them play with a tightness and funkiness that's missing from a lot of their other records as leaders. Hank Mobley joins the group on tenor, Walter Booker is on bass, McCoy Tyner's on piano, and Freddie Waits is on drums. The groove is tight and funky, with a mix of hard bop soloing and funkier Blue Note rhythm playing. Red burns throughout, especially on his own "Mustang", and on the cut "Dixie Lee". Other tracks include "Fly Little Bird Fly", "On The Trail", and "I'm So Excited By You".

A classic album that mixes trumpet and voices in a swirling soulful sound that worked very well for Byrd's career! Byrd's sparkling trumpet fronts a tight septet that includes Hank Mobley, Herbie Hancock, and Kenny Burrell – and which is backed by arrangements by Coleridge Perkinson and Duke Pearson. The sound is beautiful and spiritual, with a sound that mixes Blue Note hardbop with a style that would later show up on labels like Strata East, or in the experiments of Max Roach and Billy Harper. The tracks are long and moody, and the vocal group never gets in the way, but instead backs Byrd in a way that lets him hit new heights, and which gives him a stronger sense of voice. Includes the classic "Christo Redentor", plus "Chant", "The Black Disciple", and "Elijah".

An essential bit of jazz funk from Donald Byrd and Larry Mizell! The groove's very similar to the classic Places & Spaces, and the record's got loads of cool spacey tracks with hot funky trumpet from Donald, and cool waves of synth and sound from Larry. The title cut's a great groover, and other nice ones include "Think Twice" (sampled by Main Source for "Lookin' At the Front Door"), "I Love The Girl", and "You Are The World". Great great great stuff, and right up there with the albums Places & Spaces and Street Lady!

A landmark album by Donald Byrd – the first one where he really started to click with jazz-funk producer Larry Mizell! Mizell and Byrd had worked together previously on the Black Byrd album – a soaring bit of futuristic jazz funk that took Byrd's career to a whole new level – but this album's the one where they really began to make the formula cook, blending together tight funky rhythms, spacey keyboards, soulful vocals, and some of Donald's best solo work of the 70s! The whole thing's a masterpiece, and all tracks sparkle – including "Lansana's Priestess", "Witch Hunt", and "Street Lady", one of the funkiest tracks ever on Blue Note. A haunting record with a beautiful spacey groove, and one of the best-ever albums on Blue Note!

A cool little set from pianist Barbara Carroll – a player who got her start in the New York scene of the 50s, and served up some excellent work in later years – but who also comes across surprisingly well in this overlooked 70s session for Blue Note! The album's not nearly as electric as others on the label at the time – and instead, Carroll really demonstrates her warm touch on acoustic piano – working with just a bit of bass from Chuck Domanico and drums from Colin Bailey – but often driving the rhythms herself, with her own fluid work on piano! The set also features guest guitar from Dennis Budimir on one track – and titles include "Baubles Bangles & Beads", "Blues For Artie", "At Seventeen", "In Some Other World", and "It Never Entered My Mind".

One of the most obscure of the Paul Chambers albums on Blue Note – and one of the most interesting as well! Although best known for his solid rhythm work on late 50s hardbop recordings, Chambers breaks out here with a more introspective, more exploratory style on the bass – using the instrument "on top", as a lead solo force in a group with Kenny Burrell on guitar, Hank Jones on piano, and Art Taylor on drums. The sound is surprisingly soulful, and modern yet swinging – in the manner of Oscar Pettiford's best sides of this style. Titles include "Yesterdays", "You'd Be So Nice To Come Home To", "Confessin", and "The Theme". CD also features the bonus track "Chamber Mates"

Easily one of the most powerful albums ever cut by Don Cherry – a searing set of tracks done for Blue Note in the late 60s – and featuring some tremendous tenor work by Pharoah Sanders! There's a tightness and level of energy here that surpasses even Cherry's other excellent Blue Note sessions – a rawness that recalls the style forged often on key ESP albums of the 60s, but honed here into a slightly tighter mode. Sanders' horn is especially well-placed in the set – and pushes Cherry past the spacier notes of other recordings, in a way that unlocks fire from the years with Ornette – but which opens up into a much freer groove. The rest of the group includes Henry Grimes on bass and Ed Blackwell on drums – both a perfect match for the quartet – and titles include the 17 minute "Unite", plus "There Is A Bomb", "Awake Nu", "Taste Maker", and "The Thing".

A killer hardbop session from the early 60s – one of Sonny Clark's later sides for Blue Note, and an album that features a great lineup of players that includes lesser-known Blue Note hornmen Charlie Rouse and Tommy Turrentine! The record crackles with the energy and imagination of Clark's best work for the label – leaping and loping along the grooves with a free-thinking approach to the tunes, and coming up with some exotically-tinged takes on the hardbop sound of the time – yet still allowing plenty of space for searing solo work. Ike Quebec joins the group on a few tracks as well, and titles include some of Clark's best compositions – like "Melody for C" and "Voodoo" – as well as the tracks "Eric Walks", "Midnight Mambo", and "Deep In A Dream".

Hard-slamming genius from pianist Sonny Clark – one of his greatest albums for Blue Note, and a real cooker that's served up with an all-star group! Clark's vision has never been tighter or fuller than on this album – save, perhaps, for the magnificent Cool Struttin – and his command as a leader is impeccable, effortlessly shaping the horns of Donald Byrd, Curtis Fuller, and John Coltrane to realize his unique vision in music. Rhythm is by Paul Chambers on bass and Art Taylor on drums – and titles include classics like "News for Lulu" and "Sonny's Crib", plus smoking renditions of "Speak Low" and "With a Song in My Heart".

A great collection of material from Sonny Clark – recorded in 1958, but not issued at the time, most likely because Sonny was already releasing so many other albums for Blue Note! The CD features 14 tracks in all – all played in trio format – and all tunes are standards, as you'd guess from the title. Tracks include "Black Velvet", "Ain't No Use", "Blues In The Night", "I Cover the Waterfront", "The Breeze & I", and "Can't We Be Friends".

A rare session as a leader from trumpeter Johnny Coles – a player who cut some great work in the groups of James Moody and Gil Evans, but who shines even more brightly on this classic Blue Note album! Coles really has an ear for finding the hippest side of his instrument – and he blows with a style that's unlike anyone else we can think of – and certainly far from the mellower tones of his previous leader set for Columbia. This album's got a great mix of hardbop and modern ideas – right up there with the best Blue Note had to offer at the time – and the group's filled with equally hip players who include Joe Henderson on tenor, Leo Wright on alto and flute, Duke Pearson on piano, Bob Cranshaw on bass, and either Pete LaRoca or Walter Perkins on drums. Titles include "Heavy Legs", "Hobo Joe", "Jano", and "Little Johnny C". Very hip, very hard, and very swingin!

John Coltrane's classic – and only – recording as a leader for Blue Note! The album's no throwaway date, though – as it stands strongly with both Coltrane's other label work of the time, and with the best of the late 50s Blue Note scene – a time when the label was really cooking at full strength! The groove here is a bit harder, heavier, and hardbop-inflected than some of Trane's late 50s sides with Red Garland – thanks to a lineup that features Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums. There's a crisp modern edge to the record that really holds up beautifully – even after years of play – and titles include "Blue Train, "Locomotion", "Moment's Notice", and "Lazy Bird".

Some incredible early work from John Coltrane – 3 sessions recorded under the leadership of Paul Chambers, and even done before Coltrane's more famous work with Miles Davis! First up is material from the Imperial album Chamber's Music – led by Chambers, and one of the earliest small group sessions with Coltrane – a very spare batch of bass-heavy tracks with an incredibly relaxed groove. Chambers is at the full peak of his youthful talents, and solos quite a bit next to spare piano fills by Drew. Trane's tone is loud and raw, with more bluesiness than you'd expect – and we mean that in a good way! Titles include "Dexterity", "Trane's Blues", and "Eastbound". Added to these are 3 more tracks from a really wonderful Massachusetts session in 1956 – recorded for Transition Records – and featuring Coltrane and Chambers with Pepper Adams, Roland Alexander, and Donald Byrd – playing, long, bluesy, almost-improvised tunes that include "Trane's Strain", "High Step", and "Nixon Dixon & Yates Blues". Last up are more tracks from the album Whims Of Chambers – again recorded under Chambers' leadership, this time for Blue Note in 1956 – with a group that includes Donald Byrd, Kenny Burrell, and Horace Silver. The writing is great, and the group has a nice dark edge that gives the session a slightly different sound than other Blue Note albums from the time. Chambers leads off with the bass on most tracks, kind of putting the work at an off-center pace that really gives it a fresh feel – and which makes it different from the straighter bop sound of his albums as a leader on Vee Jay. Tracks include "We Six", "Dear Ann", "Tale Of The Fingers", and "Omicron". CD features 11 tracks in all – quite possibly not all of the tracks from the albums, but the important Coltrane ones.

Ravi Coltrane's first album for Blue Note – put together here with production help from Joe Lovano, who also plays a bit of guest tenor too! The album's got a really dark edge – and really works strongly in those edgier sides of the spectrum – those modes that Coltrane's developed best in the past decade or so – which are almost more saxophonic elements of a maturing Wayne Shorter than they are those of his famous father! Ravi's got a good sense of space between his notes – never bridging the gaps with flurries of sound, and instead making these bold statements that swing together nicely, with help from a lineup that includes Geri Allen and Luis Pedromo on piano, James Genus and Drew Gress on bass, and EJ Strickland and Eric Harland on drums. In addition to tenor from Lovano on two tracks, the set also features some guest trumpet from Ralph Alessi – on titles that include "The Change My Girl", "Spirit Fiction", "Klepto", "Roads Cross", "Cross Roads", "Yellow Cat", and "Check Out Time".

An overlooked late 60s treasure on Blue Note – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four".

Fantastic work from one of the most overlooked alto talents of all-time! This beautiful CD features tracks from Sonny's 3 rare albums on Imperial – Jazz USA, Go Man, and Plays Cole Porter. The records were all recorded in 1956 – and they feature some of the strongest bop playing to ever come out of LA, total proof that that city wasn't always noodling around with cool jazz during the 50s! Sonny plays alto so well you want to cry – and every note is perfectly placed, with just the right mix of technical skill and warm soulful humanity. Most of this material has only ever been reissued in Japan – and the CD includes wealth of excellent cuts like "If I Had You", "I Love You", "Wailin With Joe", "West Coast Blues", "Criss Cross", "Ham's Blues", and "Blue Friday" – but the whole thing's great!

Rare lost work by Miles Davis – recordings from 1951 broadcasts from the legendary Birdland nightclub, restored here with surprisingly good fidelity! The recordings are interesting for a number of reasons – first, because the tracks are longer than usual for Miles – certainly longer than some of his shorter LP recordings of the time – and second, because the assortment of players really pushes past the usual suspects! 7 of the tracks feature a sextet that includes Kenny Drew, Sonny Rollins, JJ Johnson, Tommy Potter, and Art Blakey – and then the remaining 3 tracks feature an even more compelling group that includes Eddie Lockjaw Davis, Billy Taylor, Charles Mingus, Blakey, and the legendary Big Nick Nicholas on tenor! Titles include "Move", "The Squirrel", "Lady Bird", "Out Of The Blue", "Half Nelson", and "Down".

A strange 2LP set – put together in 1971, with a cover and a gatefold format that makes it look like current electric Miles on Columbia, but a track list that features Miles early 50s recordings for Blue Note! The tracks were all recorded by Rudy Van Gelder – and the sessions feature JJ Johnson, Gil Coggins, Art Blakey, Kenny Clarke, Jackie McLean, and Oscar Pettiford. Titles include "Weirdo", "Woody N You", "Lazy Susan", "CTA", "Dear Old Stockholm", "Chance It", "Donna", "Yesterdays", and "The Leap".

Excellent early hardbop work by Miles – recorded in 1952 and 1954, and some of his best early sides as a leader! The CD features remastered versions of the material, sparkling with the talents of Rudy Van Gelder – and the sessions feature JJ Johnson, Gil Coggins, Art Blakey, Kenny Clarke, Jackie McLean, and Oscar Pettiford. Titles include "Weirdo", "Woody N You", "Dear Old Stockholm", "Chance It", "Donna", "Yesterdays", and "The Leap".

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender".

Excellent funky work from Lou – and a groundbreaking record that was the first to feature him playing on Blue Note with drummer Idris Muhammad – who is listed on the session under his birth name, Leo Morris! Muhammad gives the album that crackling funky bottom sound that instantly defined Lou's later years at Blue Note – a hard and heavy approach to soul jazz that's had incredible repercussions in the world of hip hop, as well as soul and funk. The rest of the group features soul jazz burners Lonnie Smith on organ, Melvin Lastie on trumpet, and George Benson on guitar – and the album includes the highly successful "Alligator Boogaloo", plus hard groovers "The Thang", "Aw Shucks!", and "One Cylinder".

Excellent funky work from Lou – and a groundbreaking record that was the first to feature him playing on Blue Note with drummer Idris Muhammad – who is listed on the session under his birth name, Leo Morris! Muhammad gives the album that crackling funky bottom sound that instantly defined Lou's later years at Blue Note – a hard and heavy approach to soul jazz that's had incredible repercussions in the world of hip hop, as well as soul and funk. The rest of the group features soul jazz burners Lonnie Smith on organ, Melvin Lastie on trumpet, and George Benson on guitar – and the album includes the highly successful "Alligator Boogaloo", plus hard groovers "The Thang", "Aw Shucks!", and "One Cylinder".

The title's no lie – because the album is one of the shining jewels of Lou Donaldson's legendary funk years for Blue Note – that second period when he returned to the label at the end of the 60s, and really helped redefine the sound of soul jazz at the time! The format here is very much the same as other Donaldson classics from the time – like Hot Dog or Possum Head – in that the tracks are long, open, and plenty darn grooving – locked in some funky rhythms that feature Idris Muhammad on some very heavy drums! Other players are great too – and include Blue Mitchell on trumpet, Melvin Sparks on guitar, and Lonnie Smith on Hammond – all cooking things up nicely on tracks that include "West Indian Daddy", "Donkey Walk", "Everything I Do Gonh Be Funky", and "Hamp's Hump".

Classic 60s soul jazz from Lou Donaldson – and one of the first albums that has him working with Grant Green on guitar and Baby Face Willette on organ! Both players were discovered by Lou and brought to New York for Blue Note – a move that not only helped give the Donaldson sound a really soulful edge on a few key records, but which also helped jump-start the careers of both heavy-hitting players! Green's guitar is always a treat next to Lou's well-crafted lines on the alto – and Willette's organ brings a nicely unbridled quality to this session, giving it a rougher edge than the usual Blue Note. The cover's great too – and tracks include "Cool Blues", "Watusi Jump", and "Here 'Tis".

From the title, to the cover, to the gritty grooves way down in the wax – this has got to be one of the funkiest Blue Note albums ever – a real landmark from the legendary Lou Donaldson! The set kicks off with a hard and heavy groove from the very first note – thanks to some super-tight drumming by a young Idris Muhammad – still billed under his birth name of Leo Morris on the sleeve, but already hitting the kit with that snapping post-Popcorn style that would revolutionize funky jazz in years to come! Donaldson's plenty smoking himself on electrified alto sax – played with that great mix of flatness and echo that you'd hear in Eddie Harris' albums of the same time – and the rest of the lineup is equally cooking, with Melvin Sparks on guitar, Charles Earland on organ, and Ed Williams blasting away on funky trumpet! Titles include killer remakes of "It's Your Thing" and "Who's Making Love" – plus Donaldson originals "Hot Dog" and "Turtle Walk" – all nice and long, and with a really raw sound!

Quite an unusual Lou Donaldson album for Blue Note – much more open-ended than his other sets, with a really hard-jamming sort of sound! Unlike some of Donaldson's tighter dates of the time, which feature more bop-based, song-based shorter tunes – this one's more of a long-form blowing session, much more of the date you'd expect to hear from Prestige in the late 50s – and a bit like some of the work that Lou did on some of Jimmy Smith's all-star blowing dates from the same time. The group's a great one – a sextet with Donaldson on alto, Donald Byrd on trumpet, Curtis Fuller on trombone, Sonny Clark on piano, Jamil Nasser on bass, and Art Taylor on drums – the last of whom is very much at home in the setting, and does a great job of directing the energy of the group. The album's only got four long tracks – and titles include "Sputnik", "Dewey Square", "Groovin High", and "Strollin In".

A killer from Lou Donaldson's early hardbop years at Blue Note – recorded right during his classic run of albums for the label, but not issued until many years later! There's a sweet bounce to most tracks here – the kind of vibe that Lou had most famously on his Blues Walk album – thanks to the presence of Ray Barretto on congas, in the company of Horace Parlan on piano, Ben Tucker on bass, and Al Harewood on drums! Parlan's piano gives the whole thing a great soulful bottom – and titles include "Midnight Sun", "Dog Walk", "The Squirrel", "Si Si Safronia", and "Candy". CD features a bonus alternate of "Candy".

Plenty of sass, and plenty of soul – a great mix of modes from the mighty Lou Donaldson! The set has Lou expanding his sound a bit from the harder funk of Blue Note dates from a few years before – working with arranger George Butler, who gives the record a cool electric vibe – almost like some hip early 70s soundtrack! Great proof of that is Donaldson's classic take on the "Sanford & Son Theme" – done here in a way that stretches out a lot more than the original – and other nice funky tracks include "Inner Space" and "Sassy Soul Strut".

A really unique album for Lou Donaldson – especially for his early 70s run on Blue Note! The session lives up to its title by offering up a batch of soulful ballads from Lou – tunes that really focus on his sweet lines on alto, yet set amidst some larger backing arranged by Wade Marcus – which also feature some wonderful Fender Rhodes from Derek Smith in the mix! The groove is relatively gentle, and has a nicely laidback sort of feel – the kind of lush yet soulful sounds that Marcus could do so well almost a CTI/Kudu vibe, but a bit more easygoing overall. Titles include a version of Lou's "Blues Walk", plus "What Are You Doing The Rest Of Your Life", "The Long Goodbye", "Stella By Starlight", "You've Changed", and "Autumn In New York".

One of our favorite albums ever by Kenny Dorham – and a really different session than his usual studio work! The album captures Kenny in a relaxed live setting, with a bit more dirt on his horn than usual – blowing with a tone that's much more open and a bit less poised – in the company of a really great group that features JR Monterose on tenor, Kenny Burrell on guitar, Bobby Timmons on piano, Sam Jones on bass, and Arthur Edgehill on drums. The CD features a total of 17 tracks in all – titles from the original LP, plus rare extra material, and some bonus alternate takes – all remastered by Rudy Van Gelder. Titles include Dorham's boppish "Mexico City", plus other enigmatic compositions like "Monaco" and "Hill's Edge", and tracks that include "Round Midnight", "Riffin", "My Heart Stood Still", and "NY Theme".

An excellent groover from Kenny Dorham – possibly one of his best ever albums for Blue Note – a record that shows how much he was pushing past his bop roots in his later years! The tracks are extremely long, and with a Latiny feel that's surprising when you look at Dorham's earlier material. He's helped along in his endeavors here by a fresh group of modernist geniuses that includes Herbie Hancock on piano, Joe Henderson on tenor, Butch Warren on bass and Tony Williams drums – and the album's got 3 long, incredible Dorham originals: "Una Mas" fills up side one, and "Straight Ahead", and "Sao Paulo" cover the flip.

Arguably one of the most lyrical and expressive trumpeters in the history of Jazz, Kenny Dorham was unquestionably the one the foremost players of his generation. An absolute must own for all fans of the mid 50's to late 60's hard bop as defined by this side and many other contemporaneous selections from the Blue Note catalog, all the hallmarks of the classic "Blue Note" are embodied in this LP: hard, swinging blues, atmospheric modal pieces, and mellow, introspective playing. Titles include the great "Sunrise In Mexico", plus "Buffalo", "Sunset", and "Windmill".

Arguably one of the most lyrical and expressive trumpeters in the history of Jazz, Kenny Dorham was unquestionably one of the foremost players of his generation. An absolute must own for all fans of the mid 50's to late 60's hard bop as defined by this side and many other contemporaneous selections from the Blue Note catalog, all the hallmarks of the classic "Blue Note" are embodied in this CD: hard, swinging blues, atmospheric modal pieces, and mellow, introspective playing. Titles include the great "Sunrise In Mexico", plus "Buffalo", "Sunset", and "Windmill".

This is the kind of CD that makes us love reissues! Why? Well, because it features 2 incredibly rare jazz albums – both of which never turn up on vinyl, and are lovingly packaged here on 1 CD filled with a dozen hard bop grooves. The album Matador was originally issued under Kenny Dorham's name, and Inta Somethin' was issued under Jackie McLean's name – but both players are sort of co-leaders on both albums, and it's fitting to pair the records together here because they represent the unique union of these two different players. Dorham's lyrical trumpet is an unlikely match for McLean's edgey alto, but the records work well, and with a modernist groove that's extremely compelling. Titles include "El Matador", "San Francisco Beat", "Prelude", and versions of "Una Mas" and "Melanie" – both of which were recorded later by the artists on Blue Note.

Wicked keyboards from Ronnie Foster – and a set that really steps forward from his previous two Blue Note albums! The record really has Ronnie moving into a more rounded soul space – singing along with his keyboards, in ways that may well be aimed at making Foster the next Stevie Wonder – although still with some of the hipper, quirkier touches that make his music so great! The lineup of players is very top shelf – almost more of a CTI/Kudu session, with George Benson and Joe Beck on guitar, Mtume on congas, and lots of heavy bass from William Allen and Gary King. Foster wrote all the cuts – save for a cover of Stevie Wonder's "Tuesday Heartbreak" – and titles include "Funky Motion", which was covered by Roy Ayers – plus "Cheshire Cat", "Fly Away", "Heartless", and "Like a Child".

Massive keyboard work from Ronnie Foster – one of his sweet funky 70s sets for Blue Note – and a killer all the way through! Ronnie plays a host of cool keys – Hammond, clavinet, and moog – and he's working here with tight production from George Benson, who really helps find a new soulful edge for Foster's music – plus great horns from Alfred Ellis, who helps bring a bit of his James Brown influence into the mix! Some of the best cuts feel like blacksploitation funk – with Foster taking long solos over some great instrumental grooves – often with the same offbeat twists and turns, and cool colors he brought to his Two Headed Freap album. Titles include "On The Avenue", "To See A Smile", "First Light", "Serenade To A Rock", and a nice version of Stevie Wonder's "Golden Lady".

Amazing stuff by Ronnie Foster – a sweet little album of slow funky keyboard tones, much more loosely arranged than his later work, with a dope groove that was years ahead of its time! The album's in some ways a blueprint for some of our favorite jazz-based hip hop – and although Ronnie's playing organ, on most of the cuts, he handles the instrument more like it's a Fender Rhodes! Funky jazz with a sinister, soulful groove – with players including Gene Bianco on harp, Arthur Jenkins on congas, George Duvivier and Gordon Edwards on bass, Jimmy Johnson on drums, Gerorge Dvens on vibes and Gene Gertoncini on guitar. Includes the massive cut "Mystic Brew", which is a tasty Tribe sample, plus lots of other goodies like "Chunky", "Summer Song", and "Don't Knock My Love".

Essential early work by Stan – a 3 CD collection of his early 50s recordings for the Roost label, either under his own name and group, or with guitarist Johnny Smith. The Smith sides only make up a very small portion of the package – as most of the work are by Getz's quartet or quintet, the groundbreaking assemblage that featured Jimmy Raney on guitar, whose icy clear tone was a perfect counterpart for Getz's sweet breathy work on the tenor. The quality of the material is really great – and the package does a great job of presenting the work freshly, without an overload of alternate takes or tunes you don't want to hear. There's a total of 59 tracks in all – and titles include "Potter's Luck", "Tenderly", "Budo", "Signal", "Fools Rush In", "Lullaby Of Birdland", "It Might As Well Be Spring", "Yvette", "Melody Express", "Split Kick", "Hershey Bar", and "Penny".

An amazing new chapter in the career of Robert Glasper – one of our favorite new jazz musicians of the past decade or so! This set features loads of Glasper's enigmatic piano lines – those fluid, elliptical sounds that are always filled with plenty of soul and imagination – matched here with guest vocals from a host of key talents – including Erykah Badu, Lalah Hathaway, Musiq Soulchild, Meshell Ndegeocello, Bilal, and Lupe Fiasco! The blend is surprisingly wonderful – not a sell out at all, but a way for Glaspar's music to reach a rich new level of expression – as the vocals really help the instrumental elements come alive – and unlock this side of Robert's potential that was always lurking in the background. One of the best musical moments we've heard from Blue Note in years – with titles that include "Always Shine", "Move Love", "Ah Yeah", "Lift Off", "Afro Blue", "Cherish The Day", "Black Radio", and "Letter To Hermione".

Sweet remixes from Robert Glasper's Black Radio album – all of them tunes that sound even more soulful than the originals! Given that the core record itself was a bit of a "remix" – Glasper's keyboards, funky beats, and hip contributions from a range of soul singers – the expansion of those sounds works perfectly here – stretching out the wonderful mix of modes through some sweet tracks that still leave plenty of room for Robert's keyboards. The set includes a totally great 9 minute "Dillalude #2", plus "Twice (?uestlove's Twice Baked rmx)", "Afro Blue (9th Wonder's blue light basement rmx with Phonte)", "Black Radio (Pete Rock rmx)", "Consequences Of Jealousy (Georgia Anne Muldrow's sassy geemix)", and "Letter To Hermione (Robert Glasper & Jewels rmx)".

Rare Blue Note work from Dexter Gordon – an album that was recorded during Gordon's legendary run for the label in the 60s, but not issued until a brief vinyl pressing nearly 15 years later! The record's got Gordon vamping in tight hardbop formation – a sound that's strongly 60s Blue Note all the way through, and which shows the great control that the label helped bring to Dex's music – giving him new focus and energy to take off on much freer flights later in the 60s. Other players on the date include Freddie Hubbard on trumpet, Barry Harris on piano, Billy Higgins on drums, and Bob Cranshaw on bass – and Hubbard's trumpet is an especially welcome element here on the more upbeat numbers. Titles include "Hanky Panky", "Jodi", "Lady Iris B", "Clubhouse", and "Devilette".

A really unusual album for Dexter Gordon – one that has him working in a quintet with vibes by Bobby Hutcherson! Hutcherson's sound really transforms the session, giving it a shimmering middleground that disperses the dominance that Gordon's tenor usually has – and creating a warm, fluid feel that's really great. Barry Harris is in the group on piano – providing some wonderful accompaniment that's a great fit for Hutcherson's vibes – and the rest of the group is completed by the excellent rhythm section of Bob Cranshaw on bass and Billy Higgins on drums! The album includes a great version of "Manha de Carnaval", plus a Dex original, "Le Coiffeur" – and the tracks "Heartaches", "Who Can I Turn To", and "Everybody's Somebody's Fool". CD also features the bonus tracks "Flick Of A Trick" and "Very Saxily Yours".

Seminal stuff – and one of Dexter Gordon's excellent Blue Note sessions with pianist Sonny Clark! Sonny's in fine fine form for the record, and in our opinion, he seems to be the most relaxed and inventive when accompanying Dexter Gordon – even over other Blue Note horn players, and that's saying a heck of a lot! Gordon's very much in the pocket on the record too – and doesn't spend too much time soloing around and around, and really goes for the tighter groove laid out by Clark on piano, Butch Warren on bass, and Billy Higgins on drums. Cuts include "Cheese Cake", "Second Balcony Jump", and "Love For Sale".

Obscure material from Dexter Gordon – some rare gems from his early 60s years at Blue Note – unissued back and in the day, but brought together for this sweet package at the start of the 80s! The album's great in that it shows Gordon really trying on some new things at the label – playing in a few modes that are less iconic than his classics, yet still really exciting because of that fact! A few tracks feature an unusual quintet with Tommy Turrentine on trumpet, Sir Charles Thompson on piano, and Willie Bobo on drums – and three more have Sonny Clark on piano and the great Dave Burns on trumpet, with rhythm by Ron Carter on bass and Philly Joe Jones on drums. One last track is a quartet number with Kenny Drew on piano – and titles include "Six Bits Jones", "Landslide", "Love Locked Out", "You Said It", and "Second Balcony Jump".

A variety of groups, some with Dex on tenor. Other players include Bobby Hutcherson on vibes, Freddie Hubbard on trumpet, Wayne Shorter on soprano sax, Cedar Walton and Herbie Hancock on piano, and Billy Higgins and Tony Williams on drums. Titles include "Berangere's Nightmare 2", "Tivoli", "Society Red", "Round Midnight", "It's Only A Paper Moon", and "Call Sheet Blues".

Beautiful quartet recording that unites Dexter with two other Americans in exile – Bud Powell and Kenny Clarke – plus the great French bassist Pierre Michelot. Includes a great take of "Scrapple from the Apple", plus excellent readings of "Stairway to the Stars" and "Night in Tunisia". Recorded in Paris for Blue Note, and one of Dex's best recordings! Plus, the CD reissue also includes 2 non LP bonus cuts – "Our Love Is Here To Stay" and "Like Someone In Love".

One of our favorite Dexter Gordon Blue Notes – a beautiful quartet recording that unites Dex with two other Americans in exile – Bud Powell and Kenny Clarke! The group's completed by French bassist Pierre Michelot, and includes a great take of "Scrapple from the Apple", plus excellent readings of "Stairway to the Stars" and "Night in Tunisia". The format is simple, but the sound is magic – classic Dexter Gordon in a tight Blue Note mode!

One of our favorite Dexter Gordon Blue Notes – a beautiful quartet recording that unites Dex with two other Americans in exile – Bud Powell and Kenny Clarke! The group's completed by French bassist Pierre Michelot, and includes a great take of "Scrapple from the Apple", plus excellent readings of "Stairway to the Stars" and "Night in Tunisia". The format is simple, but the sound is magic – classic Dexter Gordon in a tight Blue Note mode!

Soulful, spiritual work from guitarist Grant Green – an exploration of older tunes with a hip Blue Note 60s soul jazz approach! The album features Grant working in a quartet with Herbie Hancock, Billy Higgins, and Butch Warren – plus some added tambourine on a number of tracks – and the overall approach is extremely laidback and open, with Green soloing in a personal style that's a bit less frenetic than some of his other work of the period. Tracks include "Go Down Moses", "Just A Closer Walk With Thee", and "Nobody Knows The Trouble I've Seen".