Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Blue Train" for the first time in the world. Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train – Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry – touching upon all forms in between.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Featuring the work of obscure composer/pianist Todd Cochrane, vibraphonist Bobby Hutcherson's 1971 album Head On is a highly cerebral and atmospheric affair that is somewhat different than his other equally experimental '70s work. Although the album does feature more of the avant-garde jazz that Hutcherson was exploring during this period, Cochrane's material is heavily influenced by contemporary classical music, and accordingly Head On is more of an exercise in reflective, layered jazz than rambunctious freebop – though it does offer some of that, too.
Reissue. Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings, Oblique is often more complex in its post-bop style and more emotionally direct (despite what the title may suggest).
Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). Carried by its almost impossibly infectious eponymous opening track, The Sidewinder helped foreshadow the sounds of boogaloo and soul-jazz with its healthy R&B influence and Latin tinge. While the rest of the album retreats to a more conventional hard bop sound, Morgan's compositions are forward-thinking and universally solid. Only 25 at the time of its release, Morgan was accomplished (and perhaps cocky) enough to speak of mentoring the great Joe Henderson, who at 26 was just beginning to play dates with Blue Note after getting out of the military.
Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). This long-lost Lee Morgan session was not released for the first time until it was discovered in the Blue Note vaults by Michael Cuscuna in 1984; it has still not been reissued on CD. Originals by Cal Massey, Duke Pearson ("Is That So") and Walter Davis, in addition to a couple of surprising pop tunes ("What Not My Love" and "Once in My Lifetime") and Morgan's title cut, are well-played by the quintet (which includes the trumpeter/leader, Hank Mobley on tenor, pianist Cedar Walton, bassist Paul Chambers and drummer Billy Higgins).
Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. On Song for My Daughter, his third record for Blue Note, Jack Wilson "changed with the times," to paraphrase one of the record's songs. Like many of his peers on the label, Wilson pursued a pop direction as the '60s drew to a close, which meant he covered pop hits like "Scarborough Fair/Canticle" and "Stormy," and that he recorded the album with a large band augmented by a string section. It is a testament to Wilson's strengths as a pianist that he doesn't get lost in this heavy-handed setting and manages to contribute some typically graceful moments, including the lovely title song.
Lee Morgan's final studio recording before he was murdered was initially released as a two-fer LP, and the original recordings without alternate takes are included here on one CD. This was a fertile creative time for Morgan, as rivals Freddie Hubbard and Woody Shaw were embracing the electrified sounds of the times and Morgan followed suit. Harold Mabern is on the Fender Rhodes piano, tenor saxophonist Billy Harper proves a formidable front-line mate, and the vibrant Bobbi Humphrey is heard on flute before she commercialized her sound.
Features SHM-CD format and the latest 24bit 192kHz remastering. One of our favorite albums from Lee Morgan – a soaringly soulful session that was recorded in the mid 60s, and finally issued by Blue Note at the end of the decade! The vibe here really follows from the lyrically inventive, post-Sidewinder mid 60s Morgan years – with a spirit that's similar to Lee's work on the albums Gigolo or Tom Cat, in a style that mixes in a fair bit more modal and Latin influences to the rhythms.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Between 1958 and 1962, the Three Sounds were one of the most prolific artists on Blue Note, recording over ten albums worth of material during those four years. During all that time, the group never changed their style much, concentrating on lightly swinging, lightly soulful mainstream jazz that balanced jazz and pop standards with bluesy originals. As time progressed, they veered closer to soul-jazz, but each of their records sounded quite similiar and were equally satisfying. Black Orchid, their last album for Blue Note in the early '60s (they would rejoin the label in another four years), was no exception to the rule.
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Wonderful work from the Three Sounds – a tight little combo who weren't out to break any rules in jazz, but who made some excellent albums for Blue Note in the early 60s! The groove here is hard-edge soul jazz piano at its best – similar to early Les McCann work of the same vintage, with a strong sense of rhythm on the left hand, and some wonderfully complicated lines on the right – an early example of the genius of Gene Harris.