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 the latest 24bit 192kHz remastering. A stunning early set as a leader from Elvin Jones – both a tremendous demonstration of the free energy he let loose after the passing of John Coltrane, and a set that's also still got some key Coltrane-esque elements! As with other Jones albums to follow, Elvin's got some key reedmen on hand – George Coleman on tenor, and Frank Foster on tenor, alto, and bass clarinet – both given plenty of room to run around with long solos on the open space of the record – yet without ever blowing off their heads as much as some of the younger players who'd work with Jones. There's no piano at all on the set – just the rock-slid bass of Wilbur Little, and additional congas from Candido next to Elvin's drums. The tracks have a haunting quality that mixes modal grooving with spare moments, and titles include "Simone", "5/4 Thing", "Shinjitu", and a nice version of "Yesterdays".
Features material from The Connection, Shades Of Redd, and an Unissued Session! Available in a box set as either three LPs or two CDs, this limited-edition release has all of the music recorded at pianist Freddie Redd's three Blue Note sessions. In addition to the selections originally included on the LPs Music From the Connection and Shades of Redd, there is a completely unissued date that adds to the fairly slim Freddie Redd discography. Altoist Jackie McLean (who is on all three sets) and tenor saxophonist Tina Brooks (a key soloist on two) co-star with the pianist; trumpeter Benny Bailey is also heard from the later date. The music is comprised mostly of Redd's originals (including seven songs written for the stage play The Connection) and fits into the style of the mainstream hard bop of the day, although with a few personal touches. Straight-ahead fans and Blue Note collectors can consider this set to be essential.
Nearly 12 hours of exceptional performances, interviews and educational content are featured on this 4-disc DVD set.
Modern Drummer Festival 2008 includes amazing performances and illuminating interviews from eleven of today's greatest drum artists, and also serves as an incredible educational resource with in-depth insights and exclusive instruction (including a printable, 28-page eBook) from one of the most musically diverse groups of drummers in the Festival's 20-year history.
The Music for Lovers series from EMI and Blue Note spotlights the balladic nature and romantic side of the artists who have recorded for its associated labels. Dianne Reeves performs in a variety of settings here, singing standards from the vocal jazz world as well as R&B and art rock. Beginning with an excellent 1982 reading of "My Funny Valentine" with Billy Childs, the volume picks up two Reeves performances from the late '80s.
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.