Catalog Number MMBST-84135
Release Date: September 2008

Freddie Hubbard - Here To Stay  [Out of Print]

One of the acknowledged giants of jazz trumpet, Freddie Hubbard recorded many albums for Blue Note in the 1960s. Due to the incredible quantity and quality of Blue Note recording sessions in the ‘50s and ‘60s, several of Hubbard’s’ most stirring albums went unissued at the time. There were times when the reason for Alfred Lion’s decision to hold back a session were quite clear. But there were many others, such as this gem, where one can only gather that the Blue Note office, in the early 60’s was simply too busy and chaotic to keep track of every session. Here to Stay, a true rare find, was first released as part of a two-LP set in 1979 after languishing in the vaults for over 15 years. It features a Hubbard in his early twenties, and most definitely in his prime. Freddie was a member of Art Blakely’s Jazz Messengers at this time. In fact, the lineup of musicians is comprised of the Jazz Messengers of the day (with Wayne Shorter on tenor, pianist Cedar Walton and bassist Reggie Workman) with drummer Philly Joe Jones filling in for Blakey. The music is fiery, brilliant and full of excitement, including a particularly memorable version of “Body and Soul”. Here to Stay is a hard bop rarity (now heard in stunning fidelity) from some of the top young lions of the 1960s. It is, quite simply, one of the most inspired albums of Hubbard’s career.

Catalog Number MMBST-84091
Release Date: November 2008

It is some jazz musicians’ fate to be better known after their death than during their lifetime, a legend today when they were actually overshadowed by others during their prime. Sonny Clark, who died in January 1963 at the age of 31 due to self-abuse, never achieved the headlines of Thelonious Monk, Oscar Peterson and Dave Brubeck, to name just three more famous pianists from the time. Blue Note fans have always known about Clark, since he led seven superb albums for the label. Fans of Bud Powell knew that Clark was one of his top disciples, and collectors of Buddy DeFranco's records of the early 1950s were aware of his contributions to the clarinetist's recordings. But to a  public that bought Erroll Garner and George Shearing records, Sonny Clark was an unknown name. It was not until after his death that the music world seemed to finally realize what it had lost. On Leapin And Lopin, his last recording as a leader, Clark, for the first and only time, leads a quintet featuring trumpeter Tommy Turrentine and tenor-saxophonist Charlie Rouse. The pianist introduces a few of his final originals, takes many sparkling solos, and is heard at the peak of his powers, carving out his place in jazz history. This is timeless music and, although Sonny Clark may have been taken for granted during his life, he is now rightfully considered one of jazz's irreplaceable immortals.

Catalog Number MMBST-1058
Release Date: November 2008

The most common reaction after hearing Lee Morgan’s Tom Cat is “why on earth didn’t Blue Note release this at the time!”. The great trumpeter, only 26 at the time of this recording, and his all-star cast with Jackie McLean, Art Blakey, Curtis Fuller and McCoy Tyner are a who's who of the mid-1960s hard bop scene. Quite simply, this is one of Lee Morgans’ finest sessions. Even Blue Note owner Alfred Lion, when asked, was hard pressed to understand why a session of this caliber was held back. However Morgan was recording so frequently for Blue Note during this era that several of his finest recordings were lost in the shuffle as the label looked for another hit to rival the massive success of Lee’s The Sidewinder. The reasons are somewhat obscure but in any case, this classic outing sat in the vaults as Blue Note slowly declined, became inactive and by 1981 was reduced to being a reissue company focusing on its past glories. With Morgan no longer around (having been shot in 1972 by a jealous lover while performing at Slugs night club in NYC), it’s as if Lee Morgan is speaking from the grave, pointing out future directions for younger musicians. This memorable, innovative and soulful music is for many listeners one of Lee Morgan’s best recordings.

Considered one of the great young pianists of the mid-to-late 1950s, Sonny Clark was practically the house pianist at Blue Note during 1957-62 before his premature death in 1963. He led seven albums for Blue Note during that time, appeared on many dates as a sideman, and recorded Cool Struttin, which is considered his main classic. Clark never recorded an unworthy chorus. His playing was full of joyful discoveries, constant swing, and an optimistic creativity that was indescribable and quite infectious. On Cool Struttin from 1958, Clark matches wits and inventive ideas with altoist Jackie McLean and trumpeter Art Farmer. Their four lengthy performances, which include Miles Davis Sippin At Bells and the exotic Deep Night, are filled with magical moments where the five musicians seem to think and create like one. The greatest jazz performances include moments like those heard on Cool Struttin , where the music has a life of its own beyond the individual players. The more one plays Cool Struttin , the more it is obvious that this is one of the truly essential Blue Note recordings.

Catalog Number MMBLP-1517
Release Date: January 2009

Gil Melle was a 20th century renaissance man, a unique individual with wide interests and many talents. In his life he wrote over 125 film scores, was a pioneer in experimenting with electronic music, built computers and synthesizers, was a notable painter, piloted planes, restored automobiles and airplanes, and was a visual artist whose art was used on the cover of records by Miles Davis, Sonny Rollins and Thelonious Monk. Musically he never stood still or fit easily into any category. Early on Melle was a highly skilled baritone-saxophonist with his own sound and approach, performing at the Village Vanguard before he was even old enough to have a drivers license. Patterns In Jazz from 1956 is Gil Melle's definitive straight-ahead jazz recording. The music is colorful and adventurous, laidback but eminently approachable. Teamed in a quintet with trombonist Eddie Bert and guitarist Joe Cinderella, the emphasis is on low tones, bright colors and surprising patterns, whether on Melle’s originals or inventive rearrangements of “Moonlight In Vermont” and “Long Ago And Far Away”. Blue Note engineer Rudy Van Gelder seemed to have a special affinity for Melle’s music since all of the Melle sessions recorded in Van Gelder’s studio are sonically exceptional, including this one. The music on this rare gem is as unique, unusual and memorable as is Gil Melle himself.

Catalog Number MMBLP-1568
Release Date: February 2009

Hank Mobley's tenor saxophone was such an integral part of the Blue Note sound that his albums were often given such basic names as Hank, Hank Mobley, Hank Mobley Quintet and Sextet. All that Blue Note fans needed to know was that Hank Mobley was on the job. That meant that they had to acquire the record, for Mobley was the definitive hard bop saxophonist and a sparkplug who made every session something special. From the time that he emerged as a hot young tenor player who had worked with Max Roach, Dizzy Gillespie, the original version of the Jazz Messengers and the Horace Silver Quintet up until the end of the 1960s, Mobley was a regular on Blue Note, recording one memorable album after another. This 1957 project simply titled Hank Mobley, in addition to fine contributions from trumpeter Bill Hardman and the great pianist Sonny Clark, is particularly special due to the playing and compositions of altoist Curtis Porter. Porter, who was later known as Shafi Hadi, is best remembered for his association with Charles Mingus but he sounds even more inspired and passionate on this album than he did with the explosive bassist. And with Hank Mobley in exceptional form, the result is a rare classic. For many listeners, “Hank Mobley-1568” is an album that utterly defines hard bop and the Blue Note label. It is no wonder that an original copy of this LP fetches five figures!

Catalog Number MMBST-84075
Release Date: February 2009

Donald Byrd has had an episodic and very productive career. Whether it was playing at recorded jam sessions for Prestige in the 1950s, combining voices with a hard bop group on Cristo Redentor, or becoming a major commercial success in the 1970s with his funk/R&B recordings, the trumpeter was in the musical headlines for decades. The finest group of his career was the quintet that he co-led with baritonist Pepper Adams during 1958-62. The blend between Byrd and Adams, their individuality, and the sparks that always flew when they performed together were always mutually inspiring. The Cat Walk is arguably their finest recorded collaboration. With pianist Duke Pearson (who would work with Byrd throughout the 1960s), bassist Laymon Jackson and drummer Philly Joe Jones, The Cat Walk has an all-star lineup. Pearsons four compositions (one co-written with the trumpeter), highlighted by Hello Bright Sunflower and Dukes Mixture, helps give this group its own unique identity even beyond the sound of the two horn greats. The results are quintessential hard bop that is essential and certainly a highlight in the careers of Donald Byrd, Pepper Adams and Duke Pearson.

Harold “Tina” Brooks could have been a tenor sax contender for legendary status and certainly had the ability, the sound and the creative imagination. A colorful player (and exceptional composer) whose hard bop solos were soulful, inventive and stimulating, Brooks had the misfortune of having three of his four Blue Note albums as a leader lay unissued until he had passed away. As difficult as it is to believe after listening, Back To The Tracks was one of these unreleased sets. In truth, there was no logical reason why this very rare 1960 session was bypassed for it features Brooks coming up with one brilliant solo after another throughout a consistently superb set. More than holding his own with a stellar cast including trumpeter Blue Mitchell, altoist Jackie McLean and a superb rhythm section on a mixture of originals and standards, “Tina” constantly takes solo honors. Brooks plays his heart out during these rare recordings that really define where jazz was in 1960. Back To The Tracks is a timeless hard bop gem rescued from the vaults that should not to be missed!

Freddie Redd is a name that every jazz collector should know. During 1957-60, he recorded three memorable albums: San Francisco Suite (a trio date for Riverside), The Connection (his score for the famous play) and Shades Of Redd. While he has spent much of the time in obscurity since then, with occasional comebacks, Shades Of Redd is the obvious highpoint of the pianist-composer's recording career. Redd wrote the music specifically for the two mighty horn players featured with his quintet (altoist Jackie McLean and tenor-saxophonist Tina Brooks). While Redd's fine piano playing is an outgrowth of Bud Powell's, his writing style was always quite original and it clearly inspired the two contrasting saxophonists when they met up in 1960. Filled with the optimism of the era and looking forward to freer sounds but staying closely connected to swinging hard bop, this formerly rare gem hints at John Coltrane and Ornette Coleman while sounding very much like Freddie Redd. No jazz collection is complete without Shades Of Redd.
 

Catalog Number MMBST-84077
Release Date: June 2009

Dexter Gordon always played with a melancholy smile in his sound. The joy he felt in playing his tenor saxophone was apparent, as was his huge tone and playful conception. At the time that he recorded Doin' All Right, his very first Blue Note album, Dex had a reason to be smiling. Gordon was making a major comeback after spending several years in prison on a narcotics conviction. After being one of the primary pacesetters among tenors during the bebop era, Dex had been largely forgotten in the 1950s due to several other periods of involuntary incarceration. But after the release of this 1961 album with the young trumpet sensation Freddie Hubbard and the Horace Parlan Trio, Dexter was here to stay. Just listen to him caressing "You've Changed," introducing "Society Red" (which 15 years later would be used in his famous film Round Midnight) and sounding jubilant on "I Was Doing All Right." Dexter Gordon was feeling joyful, feeling healthy and content to let every note tell the story. Doin’ All Right is Dexter Gordon creating music for the ages!
 

Catalog Number MMBLP-1590
Release Date: June 2009

Classical music is full of child prodigies but they are somewhat rare in jazz. Lee Morgan was an exception, for he was a brilliant trumpeter while still a teenager. His musical genius is difficult to explain; but easy to hear. Lee Morgan emerged fully formed technically along with a crackling intensity and passion that was a joy to experience. By the time he recorded Candy in 1959, the 20-year old had already led five albums for Blue Note, and had logged valuable time with not only the Dizzy Gillespie Big Band, but also as a member of (what some consider) the finest edition of Art Blakey's Jazz Messengers. Candy is a unique item in Morgan’s history for it is the only quartet album that Morgan ever recorded. In fact, no other horns were needed! Candy features the trumpeter playing with beauty, fire, passion and a mature lyricism exceeding most musicians double his age. Joined by a rhythm section of young giants including pianist Sonny Clark, Morgan burns on the faster pieces but puts plenty of feeling into "All The Way," the soulful "Since I Fell For You" and "Personality." At 20, Lee Morgan was already a modern master and, from this point forward, considered one of the great trumpet men of jazz. Who said that youth was wasted on the young?
 

On May 31, 1956, an very inspired night at the legendary Café Bohemia, the great trumpeter Kenny Dorham was featured with his working quintet, which included pianist Bobby Timmons (three years before he found fame with Cannonball Adderley), and the unsung but brilliant tenor-saxophonist J.R. Monterose. With guitarist Kenny Burrell being the special guest, the results not only define hard bop of the period but show why both the music and the trumpeter were so special. One of the most important leaders of the second generation of beboppers, Kenny Dorham played with both the Dizzy Gillespie big band and the Charlie Parker Quintet. While he learned directly from the masters, he was never content to merely ride on their coat tails and he developed into one of the pacesetters of hard bop. During 1955-63 Dorham recorded quite a few gems for Blue Note but At The Bohemia is very special. To hear the distinctive trumpeter playing his heart out on his features "Who Cares" and "Autumn In New York" is to eavesdrop on jazz history.

Catalog Number MMBST-84182
Release Date: September 2009

Alfred Lion recorded many superb tenor saxophonist’s through the years including Sonny Rollins, Hank Mobley, Tina Brooks and Joe Henderson. However, by any measure Wayne Shorter must be considered one of the the most original and advanced voices onthe his instrument. In addition to his playing skill, Wayne Shorter is equally acclaimed as one of the most brilliant composers in jazz. Wayne’s improvising style and complex yet magical compositions, were entirely his own. After an important association with Art Blakey's Jazz Messengers, Shorter, in 1964 became a member of Miles Davis’ second great quintet (also featuring Herbie Hancock, Ron Carter and Tony Williams.) Right about this time in 1964 Shorter recorded Ju Ju, with (instead of his associates in the Davis’ band) the band of John Coltrane at that time, the great McCoy Tyner on piano, Reggie Workman on bass and poly-rhythmic sensation Elvin Jones on drums. Juju is a bold statement that pointed towards the future of jazz. Ju Ju, in addition to the playing of this stellar musical cast contains such brilliant Shorter compositions as "House Of Jade," "Mahjong," "Yes Or No" and "Twelve More Bars To Go.” Juju is a not-to-be-missed look into the amazing talent of Wayne Shorter.

The magical combination that is heard on this rare album from 1957 only happened once. John Jenkins, a mystery figure in jazz history, was a superb altoist inspired by Charlie Parker, Jackie McLean and Phil Woods. He emerged from Chicago in 1957, made a strong impression during the next few years and then largely disappeared, only re-emerging a few times before his 1993 death. His greatest recording was the date that he co-led with Kenny Burrell. Joined by an all-star rhythm section featuring pianist Sonny Clark, Jenkins and Burrell created a very cool, melodic and accessible Blue Note album, a real treasure full of timeless music. The blend between the instruments, the emotional playing and the brilliance of the musicians make this a must-have.

Catalog Number MMBST-84024
Release Date: October 2009

Prior to 1959, Jackie McLean was an important young Turk whose sharp tone and intense style on alto grew out of Charlie Parker yet were very much his own. Growing up in New York, his neighbors included such friends as Bud Powell, Thelonious Monk and Sonny Rollins. By 1951 he was recording with Miles Davis and other associations in the 1950s included Charles Mingus and two years with Art Blakey's Jazz Messengers. But all of that was a prelude to his recording 21 brilliant, explorative and frequently explosive albums for Blue Note during 1959-67. While McLean became one of the first jazz musicians of his generation to stretch beyond hard bop into freer explorations inspired by Ornette Coleman, Swing, Swang, Swingin' is a straight ahead affair in which he mostly puts his stamp on standards. Few versions of "Let's Face The Music And Dance" and "I Love You" have ever had this much intensity and, when McLean digs into the ballad "What's New," he gives it a fiery passion that had never been heard before. Jackie McLean not only swings and swangs but he burns with the urgency, agony and ecstasy of the 1960s.
 

Tenor-saxophonist Hank Mobley's smooth tone and hard-swinging style helped define the Blue Note sound. He was considered such a valuable musician by Alfred Lion that Mobley led 25 Blue Note albums during 1955-70, also appearing as a sideman on many others. Part of the Philadelphia jazz scene by the late 1940s, Mobley moved up North in 1951 and worked with Max Roach, Dizzy Gillespie, and most significantly the original versions of the Jazz Messengers and the Horace Silver Quintet. He was also in the Miles Davis Quintet in 1961. However he will always be best remembered for his string of brilliant Blue Note recordings of which 1960's Roll Call stands at the top. Mobley is heard at his most fiery, matching wits with the young upstart Freddie Hubbard, who was already an incendiary force. Such song titles as "My Groove, Your Move" and "A Baptist Beat" lets one know that Mobley's originals are full of their brand of soul, and the roaring drum rolls of Art Blakey often set the entire session on fire.
 

Catalog Number MMBST-84074
Release Date: November 2009

When one is stricken with polio as a child, resulting in a partially paralyzed right hand, becoming a pianist may not seem like a logical career move. However Horace Parlan had too much soul to stay away from music, and he turned his disability into an advantage and his own personal style. After playing in r&b groups in his native Pittsburgh , in 1957 he moved to New York and impressed Charles Mingus so much that he was in his group for two years. Parlan also worked with Lou Donaldson, Booker Ervin, the Eddie Lockjaw Davis-Johnny Griffin Quintet and Rahsaan Roland Kirk before having a second life in Copenhagen , where he spent his final 30 years. Parlan's most exciting recordings were made for Blue Note, particularly the ones that teamed him with bassist George Tucker and drummer Al Harewood. The trio was so close that they created music with one mind. On The Spur Of The Moment is particularly memorable for it also features the Turrentine Brothers. Stanley Turrentine was very distinctive on tenor-sax even in the early 1960s, and he is instantly recognizable in one soulful note. Trumpeter Tommy Turrentine was a masterful bebopper and gives the set some additional fire. The combination of the Horace Parlan Trio and the Turrentines makes this rare Blue Note album into an instant classic that epitomizes the hard bop/soul jazz era.

Freddie Hubbard was one of the greatest jazz trumpeters of all time. Open Sesame was his first album as a leader and this 1960 set finds the 22-year old already sounding like he was a poll winner. Hubbard had emerged from Indianapolis just two years before and, despite a few brief high-profile gigs, including with Sonny Rollins, J.J. Johnson and the Quincy Jones Orchestra, he was at the beginning of it all when he recorded Open Sesame. No matter, he sounds like a seasoned pro, taking explosive solos on uptempo pieces, showing warmth and maturity on ballads and displaying a beautiful tone and an adventurous style throughout. Imagine being 22 and playing so brilliantly while McCoy Tyner is accompanying your solos! Always a courageous and a dramatic soloist, Freddie Hubbard shows with his fearless and fiery playing that he was already ready to conquer the jazz world in 1960.

In jazz history, Sonny Rollins ranks among tenor-saxophone giants with Coleman Hawkins, Lester Young, Ben Webster and John Coltrane. In his dazzling 60-year career at the top, Rollins has balanced melodic development with unpredictable phrases, infusing his innovative ideas with his memorable wit. Who else could take the show tune "How Are Things In Glocca Morra?" and turn it into a fertile device for a heated solo? On Vol. 1, Rollins plays that song and several of his originals in a quintet with Donald Byrd and Max Roach. While Rollins has composed quite a few jazz standards, his four songs on Vol. 1 (particularly "Decision" and "Sonnysphere") are long overdue to be revived. But who else could play those songs with the passion, intensity and humor of the immortal and always-original Sonny Rollins.

Catalog Number MMBST-84169
Release Date: December 2009

 Lee Morgan - Search for The New Land [Out of Print]

Renowned in jazz ever since he emerged in the Dizzy Gillespie big band of 1956, and crowned early on as the late Clifford Brown's successor among promising young trumpeters, Lee Morgan packed a lot of living into the next 16 years. A member of arguably the finest versions of Art Blakey's Jazz Messengers (playing alongside Benny Golson or Wayne Shorter), Morgan recorded regularly for Blue Note as both a leader and a sideman for virtually his entire career. He had a major hit recording with "The Sidewinder" in 1963 and was on a countless number of significant Blue Note recordings, stretching his hard bop style while being open to the influences of the avant-garde, post bop and late 1960s r&b. Only his untimely death in 1972 kept him from challenging Freddie Hubbard as the top jazz trumpeter of the 1970s. While Morgan's boogaloo recordings were very popular, Search For The New Land has one of his finest hours. Recorded right after The Sidewinder, Search For The New Land introduces five of Morgan's most challenging compositions, has him leading an all-star sextet (with Shorter, Grant Green and Herbie Hancock) and features him playing stirring and intense solos that rank not only with his greatest work but the most creative trumpet solos of the mid-1960s.

When bebop took over from swing, it was feared that the trombone was on its way to becoming a minor instrument. Few other than J.J. Johnson and Kai Winding could figure out how to play the potentially-awkward trombone at the rapid speeds favored by Charlie Parker and Dizzy Gillespie. However Curtis Fuller, who emerged in the mid-1950s, developed a style inspired by J.J. Johnson that became an influential force and helped to save the instrument. By the time he recorded The Opener in 1957, Fuller was the definitive hard bop trombonist, a position that he would own after spending several years in the 1960s as a member of Art Blakey's Jazz Messengers. For his debut Blue Note album, Fuller digs into three standards, two originals and "Oscalypso" (a calypso by Oscar Pettiford), showing that the trombone has an important role in modern jazz, at least by those who could play on this level. His warmth, swing and consistently colorful ideas make The Opener one of Curtis Fuller's most exciting and memorable.
 

Grant Green - Matador  [Out of Print]

During the first half of the 1960s, Grant Green was the house guitarist at Blue Note. His single-note lines had the power of a saxophonist, he displayed his own brand of soul, and he was so versatile that he was a perfect fit with soulful organ combos, post bop groups and all-star straight-ahead bands, even recording Latin music, spirituals and a Western-themed album. For 1964's Matador, Green showed a lot of courage, performing "My Favorite Things" in a quartet with McCoy Tyner and Elvin Jones. Any other guitarist would sound foolhardy in that setting, but Green came up with his own ideas, creating a different spin on John Coltrane's trademark song. It is proof that on the guitar, Green was on the level of a McCoy Tyner and an Elvin Jones on their instruments. He was an innovator who blazed his own path, created music that had never been heard before, and always remained impossible to pin down as playing in only one style. Matador, which features Grant Green with his peers, is one of his most vital and timeless recordings.
 

When Joe Henderson emerged out of nowhere in 1963 and was presented by trumpeter Kenny Dorham, it must have confused many in the jazz world. Henderson sounded nothing like John Coltrane or Sonny Rollins, he could play both hard bop and very free with ease, and he had his own musical vocabulary. While most jazz musicians spend their early years emulating their heroes, Henderson had his own distinctive sound and did not belong to any one style. It is no wonder that Alfred Lion immediately signed him to Blue Note, for Henderson's originality was just what the hard bop world needed. On Our Thing, the great tenor performs his own brand of inside/outside music in a quintet with Dorham and Andrew Hill. His solos are stunning displays of virtuosity and ideas that still sound fresh today. Even over 45 years later, no one sounds like Joe Henderson.
 

Grant Green ranked alongside Wes Montgomery as the most exciting new jazz guitarist of the early 1960s. Green recorded a couple of dozen very memorable albums for Blue Note in styles ranging from modal jazz to soul jazz, bop, funk, Latin and spirituals. When Grant Green teamed up in a trio with the forward looking organist Larry Young and drummer Elvin Jones on Talkin' About, a magical musical alchemy occurred. Far from sounding like the standard organ trio, Talkin’ About showcases three master musicians in full flight. Larry Young was no longer playing Jimmy Smith licks. He was universally acknowledged as having the first new style on organ since Smith. Elvin Jones was THE major drummer of the era, and Green was capable of excelling in any setting. Just listen to the guitarist on the lengthy "Talking About J.C." and the joyous version of "I'm An Old Cowhand." You’ll quickly understand why Talkin’ About is such a sought after gem of the Blue Note catalog.
 

Catalog Number MMBLP-1557
Release Date: March 2010

Lee Morgan began carving out his musical legacy while still a teenager and never looked back. He emerged from Philadelphia in 1956 playing with such brilliance that he was dubbed "the new Clifford Brown." Dizzy Gillespie, on one of his tour stops in Philly, heard Lee play and immediately hired him for Gillespie’s own globe trotting band. Lee Morgan was never a mere copy or revivalist but a powerful creative force from the start with his own fresh musical ideas. Few 18-year olds in jazz history have started out at such a high level and maintained it throughout their career. On Vol. 3 from 1957, Morgan performs five compositions and arrangements by the great tenor-saxophonist Benny Golson including the original (and definitive) version of the heartbreaking "I Remember Clifford." Morgan's sound on trumpet was already brilliant, his ideas fresh and new, and his solos full of crackling fire and confidence. For all of his swagger and intensity, it is Morgan's passionate rendition of "I Remember Clifford" that remains in one's mind long after this superb album is finished. Vol. 3 is a superb musical document of the emergence of a true giant.
 

Of the many bebop greats who emerged in the mid-1940s, Dexter Gordon was one of the very few (along with Art Blakey and Kenny Dorham) to be a Blue Note artist two decades later. His large sound, ability to play long solos with creativity, and infectiously swinging style made Long Tall Dexter an irresistible force for many years. He fit into the hard bop world as effortlessly as he did in bop and swing settings, infusing the music with humorous song quotes, rousing ideas, and his wonderful tone. No one could out swing Gordon. He had no difficulty keeping up with such younger players as Bobby Hutcherson, Barry Harris and Billy Higgins on 1965's Getting' Around. Dexter's passionate sound the ballads "Everybody's Somebody's Fool" and "Who Can I Turn To" and his drive on "Shiny Stockings" (one of the very few times that this Count Basie-associated song was recorded by a small group) makes Getting' Around memorable from start to finish, demonstrating that Dexter Gordon and the Blue Note label were a magical combination.

From the very beginning of his brief career, it was obvious that Clifford Brown was one of the greatest trumpeters of all time. The music on the Clifford Brown Memorial Album features Brownie in 1953 on his first jazz recordings. Even if he had only recorded the music on this release, Brown would have been considered an immortal. Five songs match him with Lou Donaldson and Elmo Hope and these not only include his brilliant solos on "Brownie Speaks" and Hope's catchy "De-Dah" but a mature ballad statement on "You Go To My Head." Brown was building on the legacy of Fats Navarro while challenging Dizzy Gillespie's position as modern jazz's top trumpeter, and Brownie was only 22. The other half of this remarkable release has Brown in a sextet with Art Blakey and John Lewis, ripping into "Cherokee" (Charlie Parker would have been proud) and "Wail Bait" while caressing "Easy Living." His large beautiful tone, mastery of bebop and remarkable technique made Brown a giant from the start. Listen to the Clifford Brown Memorial Album and hear where Lee Morgan, Freddie Hubbard and Woody Shaw came from.

By the time he recorded what is universally regarded as his finest album in 1964, Larry Young had developed his own innovative style on Hammond B-3 organ and had proved that the instrument could be used for so much more than soul jazz. He was light years ahead of his contemporaries, and fully established himself as the most forward thinking B-3 organ player of the Coltrane era. Teaming with a superb cast consisting of trumpet sensation Woody Shaw (who contributed three of the six selections), Joe Henderson and Elvin Jones, Larry Young inspires each of these young giants to some of the finest performances of their lives. Unity, which still sounds as contemporary as the day it was recorded, is an essential post-bop classic!
 

Grant Green's burning single-note lines out-swung most horn players. In the 1960s, Grant Green was the Blue Note guitarist. He could jam soulfully with organ combos, play bebop with the best, and dig into the most adventurous jazz on Blue Note while sounding perfectly at home. Solid, a memorable gem from 1964, remarkably went unreleased by Blue Note for 15 years because there were so many other Grant Green recordings at the time. Green is part of a shockingly brilliant sextet (Joe Henderson, James Spaulding, McCoy Tyner, Bob Cranshaw and Elvin Jones) performing music worthy of their talents including George Russell's "Ezz-Thetic" and Henderson's "The Kicker." The playing is full of surprises, the rhythm section displays telepathic interplay, and Grant Green shows in every soulful note that he was a guitar giant.
 

Louis Smith was one of the most vital jazz trumpeters of the late 1950s. His beautiful tone, fluent style and exciting solos competed with Lee Morgan and even Miles Davis. Smithville, from 1958, features him at the peak of his powers. Recorded the same year as Smith's heated appearance at the Newport Jazz Festival with Horace Silver, Smithville features the trumpeter interacting with tenor-saxophonist Charlie Rouse and pianist Sonny Clark on some stunning performances. The title cut, a lengthy themeless blues, is full of creative solos, "Wetu" is explosive (with Rouse challenging Smith), and "Embraceable You" contains emotional solos that make the George Gershwin ballad sound brand new. Louis Smith proves to be a masterful player whose solos are full of surprises and honest emotions. Smithville is a gem that all hard bop collectors will cherish.

Stanley Turrentine created his own world of music. Every note that the instantly recognizable tenor giant played dripped with soul. No matter what setting he appeared in, from jazz organ combos to hard bop sextets, to funk and r&b ensembles to big bands, Mr. T. could be picked out within a couple of notes. Many of the sounds that emitted from his saxophone only could have come from Turrentine for it contained his soul. He was with Blue Note throughout the 1960s, recording two albums at Minton's Playhouse in 1961 when he was 26. While Vol. 1 is excellent, it serves as a warm up for the second album, which is a perfect example of Stanley Turrentine at his most inventive, melodic and soulful. Joined by Grant Green and the Horace Parlan Trio, Turrentine makes three standards ("Come Rain Or Come Shine," "Love For Sale" and "Summertime") sound fresh and new despite how often others have recorded them. The tunes sound different due to Turrentine's tone, placement of notes and his lyrical and emotional approach. He played songs his own way; there was only one Stanley Turrentine.

In his musical life, there always seemed to be two Hank Mobleys. He spent most of his career as a sideman, uplifting the music of Max Roach, Dizzy Gillespie, Art Blakey, Horace Silver, Miles Davis, Slide Hampton and Cedar Walton. But on records, his most significant work was as a leader for Blue Note. Mobley's round tone, flexibility and ability to write catchy melodies made him a popular figure for 15 years. On Quintet, he is at the head of a group featuring musicians from both the Blakey and Silver bands including the two leaders. Mobley, who contributed all six compositions, is very much in control, performing the thoughtful and melodic yet stirring brand of hard bop that he most loved. Funk In Deep Freeze is the most famous of the songs but all are well worth reviving and enjoying. Mobley and Art Farmer work off each other in subtle yet fiery fashion (they often seemed to think alike) and the Silver-Blakey reunion is a joyous occasion. Overall, the Hank Mobley Quintet sounds so tight and telepathic that it is almost like they played together four sets a night at Birdland rather than actually being a superb one-time get-together.

As a pianist, composer and bandleader, Horace Silver practically originated and certainly was the symbol of funky jazz. His playing looked beyond Bud Powell to church music, the blues and his Cape Verde musical heritage. Silver's songs were catchy, soulful and consistently stuck in one's memory. And his bands, featuring a trumpet and tenor front line, always had a sound that was definitive of hard bop. But even with Silver's string of brilliant recordings for Blue Note, Song For My Father stands apart from the rest. The title cut became a much-covered standard as soon as this record was released, Joe Henderson's "The Kicker" also caught on, and every selection (including Silver's passionate ballad "Lonely Woman") is filled with Horace Silver's charm, wit and soul. No music collection is complete without this jazz classic.

 

Catalog Number MMBLP-1535
Release Date: July 2010

One of the truly great trumpeters, Kenny Dorham had his own sound, was a skilled songwriter, and was a first-rate talent scout who is credited with discovering Joe Henderson. One of the early beboppers, he perfectly led the way to hard bop in both his playing and his writing. Dorham recorded a series of exciting albums for Blue Note. Afro-Cuban was the first and one of the most stirring. Dating from 1955, its mixture of Latin music and hard bop was ahead of its time. Using such notables as Hank Mobley, Horace Silver, J.J. Johnson and Art Blakey (whose drumming is dazzling throughout) plus percussionist Patato Valdes, Dorham contributes memorable originals, colorful arrangements that perfectly set up the solos, and his distinctive trumpet. Kenny Dorham, who plays with passion and intensity throughout this set, leads the all-star group through such numbers as "K.D.'s Motion," "Minor's Holiday" and the mambo of "Basheer's Dream." Even the set's only ballad, "Lotus Flower," is just barely restrained enough to keep the ensemble from exploding. This album will raise the temperature in any room by at least five degrees.

Thad Jones made such a strong impact in his career as an arranger-composer and a big band leader that it is sometimes forgotten just how great and distinctive a trumpet player he was. After emerging from the Detroit jazz scene, Jones was a member of Count Basie's orchestra during 1954-63. However Jones was always a much more advanced player than was needed in Basie's band and he really emerged as an innovative improviser during his own sessions. The Magnificent Thad Jones, recorded in 1956, more than lives up to its name. Heading an all-star group that includes pianist Barry Harris (who was making his recording debut), Jones is superb throughout. He reprises and extends his famous solo on "April In Paris" (creating a very haunting rendition), his heated choruses on "If I Love Again" are driven by Max Roach, he creates heartfelt (and sometimes heartbreaking) statements on ballads, and digs into the lengthy "Thedia." At no point during this memorable set does Thad Jones sound like anyone but himself, and he creates music for the ages on what is arguably the most lyrical of all Blue Note recordings.

One of the major discoveries of the 1960s, Joe Henderson was a sensation in the jazz world from the start. His sound on tenor was very original and immediately recognizable. He could play both inside (hard bop) and outside (free jazz) with ease, often alternating between the two. And he never seemed to create an uninspired chorus. After debuting as a member of Kenny Dorham's group, Henderson was with the Horace Silver Quintet at the time that he recorded Inner Urge in 1964. It is apparent from the start of this quartet date with McCoy Tyner and Elvin Jones that Henderson was a giant very much in their league despite his youth. In addition to contributing a pair of future standards with "Isotope" and "Inner Urge" and his inventive alteration of "Night And Day," Henderson's explorative solos are full of fire, their own logic, and unpredictability. His playing reflects both the turmoil and the passion of the 1960s along with his brilliant musicianship. Inner Urge is endlessly fascinating, one of the most important jazz recordings of the era and a highpoint in the career of Joe Henderson.

Catalog Number MMBST-84019
Release Date: Oct 2010

In 1955, Donald Byrd emerged as a bright new trumpeter, one whose importance soon became obvious. Over the next few years his talents grew month-by-month during periods with George Wallington, Art Blakey's Jazz Messengers and the Jazz Lab Quintet which he co-led with Gigi Gryce. By 1958 when he signed with the Blue Note label, he was ready to make musical history. Byrd's string of Blue Note recordings during the next decade are all at least excellent but 1959's Byrd In Hand is something special. Featured with a sextet that includes the great baritonist Pepper Adams and tenor-saxophonist Charlie Rouse (a year before he became an indispensable part of the Thelonious Monk Quartet), Byrd shows how powerful a force he was both as a trumpeter and as a composer. He invigorates the Clifford Brown tradition with his own musical personality, inspires the two competitive saxophonists, and contributes three excellent compositions, all of which deserve to be revived. In addition, the group comes up with memorable statements on "Witchcraft" and two songs by pianist Walter Davis Jr. The music grooves, swings hard and points towards the future. These colorful performance sound as lively, lyrical and hip today as they did a half century ago.
 

Point Of Departure is not only one of the greatest jazz recordings of 1964, but of all time. The stellar lineup (Eric Dolphy, Kenny Dorham, Joe Henderson, Richard Davis and a teen aged Tony Williams) was given a set of challenging compositions by the brilliant pianist and composer Andrew Hill. This group created the album known as Point of Departure, an acknowledged modern day classic and one of Blue Notes most extraordinary recordings. Andrew Hill was a quiet revolutionary, but he was every bit as original in his conception as Thelonious Monk. Hill extended, twisted and turned hard bop into his own very fresh and personal music. Like Eric Dolphy, Hill spawned few imitators. His conception was so pure, and so unique, both as a player and as an arranger-composer that nearly a half century later, Point Of Departure remains a brilliant touchstone of modern jazz.
 

With some musicians, it is obvious from the start that they are going to make a major impact on jazz. Wayne Shorter had only been with Art Blakey's Jazz Messengers for a short time when Miles Davis made him an offer to join his group, although he would not join until 1964. By then he had been with Blakey for four years and developed his own unique musical language and logic, both as a tenor-saxophonist and as a composer. Shortly before joining Miles Davis, Shorter recorded his first Blue Note album, Night Dreamer, in a quintet also featuring Lee Morgan, McCoy Tyner and Elvin Jones. Listening to this brilliant set makes it obvious why Davis wanted Shorter. A very distinctive soloist, Shorter contributes five highly original pieces (including "Virgo" and "Black Nile") plus a version of "Oriental Folk Song." His playing does not fit into any particular style and his writing does not hint at any of his predecessors. Night Dreamer shows that by 1964, Wayne Shorter was a jazz master.

When Lou Donaldson emerged in the early 1950s, virtually every young alto-saxophonist sounded like a close relative of Charlie Parker. While Bird would always be an influence on him, Donaldson (who is still playing very well these days at age 82) had his own approach to playing jazz, and he quickly became instantly recognizable as a more soulful and bluesy player, one who was nicknamed "Sweet Lou." Donaldson could always play bebop with the best but he also loves to caress ballads and to really dig deep into the blues. Lou Takes Off from 1957 matches Donaldson with other young greats (including trumpeter Donald Byrd, trombonist Curtis Fuller and pianist Sonny Clark) for a pair of bop standards and two originals including the lowdown blues "Strolling In." All of the musicians would have significant careers and it is fascinating to hear them at this early stage, particularly the already brilliant Lou Donaldson, who shows off his ability to infuse every note he played with the blues.

Catalog Number MMBLP-1564
Release Date: Dec  2010

Whether with Miles Davis during 1955-63, a member of the Wynton Kelly Trio (1963-66), or as a sideman on famous sessions with John Coltrane, Sonny Rollins and Cannonball Adderley, Paul Chambers was the definitive bassist of his time. He had a huge and recognizable tone, always swung, had the knack for playing the perfect note in the perfect spot, and was a distinctive soloist with his bow. Paul Chambers led relatively few albums during his life but his Quintet ranks with the very best recordings of 1957. Recorded during one special day, the set teams Chambers with top young all-stars, each of whom are inspired by each other's presence. Trumpeter Donald Byrd and tenor-saxophonist Clifford Jordan blend together beautifully, Chambers interacts with a unique rhythm section also featuring pianist Tommy Flanagan and drummer Elvin Jones, and their repertoire mixes together fresh versions of standards with a pair of superior Chambers originals and two songs by Benny Golson. Byrd and Jordan in particular come into their own during this underrated gem, with Paul Chambers inspiring the youngsters with every note he takes. The results are magical and so timeless that one can almost smell the player's sweat.
 

Catalog Number MMBST-84153
Release Date: Dec 2010

The first avant-garde jazz trombonist, Grachan Moncur III. recorded two dazzling classics for Blue Note during 1963-64: Some Other Stuff and Evolution. In the 1950s J.J. Johnson's boppish trombone style was dominant, resulting in scores of young trombonists sounding quite a bit like Johnson. Moncur, who picked up experience with Ray Charles and the Jazztet, was a very different case. While very familiar with Johnson, Moncur expanded the emotional range of the trombone, and led to its acceptance in free jazz. By 1963, Moncur was fully formed and sounding unique on Jackie McLean's famous One Step Beyond album. Nearly the same group (with McLean, Bobby Hutcherson and a teenaged Tony Williams) is on Evolution plus the great trumpeter Lee Morgan. The four Moncur pieces are dramatic, lengthy, episodic and full of surprises. The titles ("Air Raid," "Evolution," "The Coaster" and especially "Monk In Wonderland") give listeners hints as to the wild, innovative and unpredictable nature of this dynamic music which is unlike anything heard anywhere else. The wit and colors, along with the brilliant playing, make Evolution a very memorable set even during the extremely fertile period of the mid-1960s.

Throughout his career, Kenny Burrell has become well known for his taste, melodic style and attractive sound on the guitar. Burrell, who was part of the Detroit jazz scene before moving to New York in the mid-1950s, early on signed with Blue Note where he made most of the greatest recordings of his career. Freedom is one of the most obscure of Burrell's Blue Note recordings. It was originally only released in Japan and has rarely reappeared since. Burrell, while not abandoning his melodic approach on ballads, is quite heated on the faster material and very soulful throughout, interacting with such notables as Stanley Turrentine, Herbie Hancock and Hank Jones. Freedom is a true rarity, and a long lost gem.

Hank Mobley was not just a master of hard bop but one of its founders. With the Jazz Messengers and Horace Silver's Quintet, he helped to define the role of the tenor in hard bop, and his series of Blue Note recordings made him an influential force for 15 years. Originally a pianist, Mobley switched to tenor when he was 16, and by the early 1950s was a member of Max Roach's quartet. Mobley was with Dizzy Gillespie's group during 1954 before becoming an original member of the Jazz Messengers. At the time of this album, his first as a leader, Mobley was already a masterful player. Joined by both Horace Silver and Art Blakey, Mobley performs some of his best early material (including "Hank's Prank," "Avila and Tequila" and "Just Coolin'") and sets the standard for hard bop tenors of the next decade. The Hank Mobley Quartet is one of the most important early hard bop albums, a gem that shows why Mobley would be a regular Blue Note artist for the next 15 years.

Catalog Number MMBST-84184
Release Date: Feb 2011

One of the unsung greats of the 1960s Sam Rivers has remained a vital force ever since. At the time that he recorded Fuchsia Swing Song, he was a master at playing both inside and outside at the same time, blurring the lines between hard bop and the avant-garde. Rivers, who early on played piano, violin and trombone before settling on the tenor, picked up experience playing with Herb Pomeroy's orchestra in the 1950s. In the early 1960s he gradually became involved with the freer forms of jazz, performing with Archie Shepp, Bill Dixon, Paul Bley and Cecil Taylor. Rivers spent a month as a member of the Miles Davis Quintet in 1964 and later that year recorded Fuchsia Swing Song, a brilliant debut. With Jaki Byard, Ron Carter and Tony Williams, Rivers stretches hard bop and blues to the breaking point. He shows tenderness as he introduces his most famous original, "Beatrice," and tears into such numbers as "Downstairs Blues Upstairs" and "Ellipsis." Throughout this timeless album, Sam Rivers shows that he was a true giant, one who possessed a very individual style and the ability to create innovative music with every note.

In 1962, there was no stopping Dexter Gordon. The first great bebop tenor-saxophonist, Gordon came out of Billy Eckstine's big band in 1945 to record classic bop and battle Wardell Gray at jam sessions and in 1962 was in one of his peak periods. He contributed two songs (including the heated “Soy Califa”), swings hard on “You Stepped Out Of A Dream” and caresses the melodies of “Don't Explain” and “Until The Real Thing Comes Along.” With his huge tone, witty style and ability to swing at every tempo, Dexter Gordon could not be beat when he played the music he loved. A Swingin' Affair, which also features outstanding playing from Sonny Clark and Billy Higgins, is one of his truly great recordings.

The time was right. It was 1963 and 31-year old altoist Jackie McLean was recording an album for the ages. McLean had been a major player for a dozen years by then and was a hard bop master but he wanted more in his music. One of the very few musicians of his generation to embrace free jazz, McLean was impressed by Ornette Coleman and John Coltrane but his goal was to create his own brand of free form music, one filled with soul and grooves yet exploring sounds never heard before. In trombonist Grachan Moncur III. he had found a musical soul mate, one whose adventurous solos matched McLean's own and who was also a superior composer. With Bobby Hutcherson, bassist Larry Ridley and Roy Haynes, McLean and Moncur romp through four of their originals, swinging hard but engaging in new ideas and ferocious emotions, connected to the past but looking towards a wild future. Nothing was held back and the performances on Destination Out still sound futuristic, innovative and thrilling.

Every genre has its prodigies. Jazz had Lee Morgan. At 18, Morgan was already a mature improviser with a sound and a confident style of his own. While influenced by Clifford Brown who died just a few months before Morgan recorded his debut album, Morgan was rapidly becoming one of the great hard bop trumpeters, filling the huge vacuum left by Brown's absence. He holds his own with altoist Clarence Sharpe and an all-star rhythm section that includes Horace Silver and Philly Joe Jones. As each note on Presenting Lee Morgan shows, he was not only a young trumpeter on his way but a great player from the start.

Catalog Number MMBLP-1562
Release Date: Apr 2011

As a pianist, songwriter and bandleader, Horace Silver became universally recognized as one of the all-time greats of hard bop jazz. His percussive and melodic style on piano set the standard for all jazz/funk pianists. One of the top composers to emerge during the 50’s, Silver wrote  dozens of songs that became jazz standards as well as countless others that have more than stood the test of time. Horace Silver’s series of two-horn quintets were hugely influential in both hard bop and soul jazz. The Styling's Of Silver was recorded one year after Silver left the Jazz Messengers (which he co-founded with Art Blakey) and it is acknowledged as one of the most exciting hard bop albums of 1957. With trumpeter Art Farmer and tenor-saxophonist Hank Mobley forming the front line, Silver had two major artists who were pure perfection in interpreting his original material. The Styling’s of Silver is probably best known for the track  "Home Cooking"  lyrics that made the tune into a major hit. The other Silver originals, including "Soulville," "No Smokin'" and "Metamorphosis," are  memorable in their own right. Combine catchy tunes, smoking solos and Horace Silver's rhythmic piano and one has the hard bop classic known as The Styling's of Silver.

Blue Note collectors greatly appreciate Hank Mobley for the tenor-saxophonist could always be relied upon to contribute inspired solos, catchy originals, and a leadership style that resulted in memorable matchups with the greats of hard bop. Mobley recorded so many classics during his prime years that Another Workout, a superb set from 1961, went unissued until 1985. Using the same lineup as the original Workout album (a trio of Miles Davis sidemen including Wynton Kelly plus Grant Green on one song), Another Workout is at least as vital. Mobley digs into “I Should Care,” “Hello Young Lovers” and three of his originals, displaying a striking originality along with a quiet emotional intensity. His playing is so strong throughout this album that it is quite understandable that, for many listeners, hard bop begins and ends with the great Hank Mobley

Catalog Number MMBLP-1559
Release Date: May 2011

The 1950s was the golden age of the recorded jam session. Although jams had been part of jazz since at least the 1920s, the rise of the Lp meant that in the 1950s recordings were no longer limited to just three minutes apiece. Whether it was the Norman Granz jam sessions and his live Jazz At The Philharmonic concerts, or a series of jam sessions led by Gene Ammons and Buck Clayton, musicians were finally free to stretch out and challenge each other on records. Of all of the jams, Johnny Griffin's A Blowing Session has a special place in jazz history. It is the only time that Griffin, John Coltrane and Hank Mobley met up on record. Although they all played tenor, each of their sounds was distinctive and quite different from each other on this 1957 set. Griffin is a powerhouse, able to play very fast lines with passion and brilliance. Coltrane is a searching innovator, pushing ahead and constantly coming up with new ideas. Mobley, who could have been easily overshadowed by the other two, wisely chose to play the opposite of the other tenors, leaving more space and creating melodic lines that are full of subtle surprises. With trumpeter Lee Morgan also contributing some fiery ideas and the all-star rhythm section never letting the music coast, the three tenors created a jam session classic and one of the most exciting recordings of the decade.

Within a few years of leaving the John Coltrane Quartet, Elvin Jones became a very important bandleader. Due to his consistent brilliance and mastery of polyrhythms, the drummer always inspired his sidemen, bringing out a raw intensity in their playing that was not often heard in other settings. Puttin' It Together has Jones and Jimmy Garrison (Coltrane's longtime bassist) pushing Joe Farrell into some of the most intense and inventive playing of his career. Farrell, equally skilled on tenor, soprano and flute, often shakes the walls of the studio with his passionate solos, and he proves very much up to the challenge of playing with Elvin Jones. The results are some of the finest music recorded in 1968, and a late-period Blue Note classic.

In 1964, tenor-saxophonist Clifford Jordan did the impossible, holding his own next to the remarkable Eric Dolphy on a European tour with Charles Mingus. Jordan's distinctive tone and ability to play both inside and outside made him an underrated giant. Cliff Craft, his great Blue Note album from 1959, shows that he was already a major stylist five years earlier. Teamed with Art Farmer and Sonny Clark in a quintet, Jordan's every note is full of soul, swing and subtle surprises. He never played the expected and, inspired by his sidemen, Jordan comes up with one fresh idea after another. Not content to merely follow Sonny Rollins or John Coltrane, Clifford Jordan blazed his own original musical path, making Cliff Craft into one of the most memorable recordings of his career.

One of the greatest saxophonists of all time, Sonny Rollins stands apart from his contemporaries in ways that are very much in evidence throughout this outstanding album. Rollins' main musical role model was the huge sound of Coleman Hawkins rather than the cool tone of Lester Young. Sonny preferred playing unique and sometimes unusual material and his own originals rather than the more typical bebop standards of the day. Rollins could improvise endlessly on a song's melody rather than just play riffs over chord changes. On Newk's Time, the masterful tenor turns such unlikely material as "The Surrey With The Fringe On Top" and "Wonderful! Wonderful!" into powerfully swinging jazz. With the backing of a superb trio including pianist Wynton Kelly, Rollins brings out the hidden beauty of these songs, often by sticking close to the melody and using repetition inventively, and at other times through the sheer humanity of his sound. A volcanic force on the tenor sax for for nearly 60 years, Sonny Rollins effortlessly uses his creative powers to create musical magic throughout Newk’s Time.

Johnny Griffin could play as rapidly as anyone but there was more to the great tenor than just speed. His warm and emotional tone was distinctive (becoming an influence on Rahsaan Roland Kirk), he could play chorus after chorus of inventive and fresh ideas, and he was unbeatable in a saxophone battle. Griffin even battled Eddie “Lockjaw” Davis (who had a much tougher tone) to a dead heat in nightly battles when they co-led a quintet in the 1960s. The Congregation is a superb outing full of heat, fire and intensity, with time out for thoughtful ballads. Teamed with pianist Sonny Clark in a quartet, Griffin is quite exuberant on the lengthy sanctified title cut which is reminiscent of the jubilant Horace Silver tune “The Preacher.” He tears into “It' s You Or No One” and puts plenty of honest feeling into the other songs which are taken at a more moderate pace. Johnny Griffin, like the very best jazz musicians, meant every note that he played and his solos were full of constant surprises, making his best recordings timeless. The Congregation is one of his finest albums.

Pianist Sonny Clark started with Bud Powell as his musical role model but by the mid-1950s had his own irresistible style. Clark set the standard for hard bop musicians by mastering the bebop vocabulary while also looking ahead and not being shy to include soulful phrases, the blues, and ideas from other sources in his playing. Sonny's Crib, which has the remarkable frontline of Donald Byrd, Curtis Fuller and John Coltrane, features many inspired solos, with Byrd and 'Trane competing with Clark for honors. “News For Lulu” (decades later recorded by John Zorn) and an uptempo “With A Song In My Heart” are among the gems heard on this intriguing date, a definitive hard bop session that still sounds fresh, lively and vital a half-century later.

MMBST 84369 Elvin Jones Genesis

One listen to Elvin Jones' Genesis will leave many listeners asking “How did I miss this record?” In 1971, the great years of Blue Note were in the past but the label was still recording superb sessions. The difference was that it often took years for the best recordings to be released and they were being overshadowed by more commercial sets from the label. Genesis fell through the cracks, making it one of the most exciting passed-over records from the late Blue Note period. Dave Liebman, Frank Foster and Joe Farrell, three brilliant and competitive saxophonists, battle it out on these performances with Elvin Jones setting a fire under every solo. Jones makes sure that not only is the fuse never put out but the music is absolutely explosive. Do not miss this remarkable recording the second time around!

MMBST-84245 Art Blakey  -Like Someone In Love

Art Blakey led many dazzling groups under the title of the Jazz Messengers during a 35-year period, but it would be difficult to top his 1960 edition. Lee Morgan, Wayne Shorter and Bobby Timmons were not only influential stylists who were filled with youthful energy and musical genius, but each were also top composers. Blakey pushed his sidemen so hard that they had to become original and powerful forces themselves, or wilt under the pressure. Morgan, Shorter and Timmons each fit into the former category, developing into major stars during their years with Blakey. The four originals by the sidemen (plus “Like Someone In Love') are given definitive treatments on this stirring and hard-swinging set, one of the finest ever recorded by Art Blakey's Jazz Messengers.

J.R. Monterose had what it took be one of the giants of the tenor-sax. His sound was inspired by Sonny Rollins and Coleman Hawkins, he played with consistent intensity, and he prospered musically during an association with Charles Mingus. While he did not become a major name, his Blue Note debut in 1956 shows that he was one of the greats. Joined by Horace Silver and Ira Sullivan, Monterose's playing is full of surprises, advanced ideas and his own approach to playing hard bop. There was no warming up period for Monterose for he was already in prime form, challenging his sidemen and expressing himself in his own voice. Although he was active into the 1980s this, his first album as a leader, is J.R. Monterose's finest recording and a brilliant set just waiting to be discovered.

One of the most exciting trumpeters of all time, Freddie Hubbard ranked with Lee Morgan as the most vital trumpet player of the 1960s. Hubbard was a powerhouse from the beginning of his career. Goin' Up was only his second recording as a leader but it finds the 22-year old in blazing form, displaying brilliant technique, dazzling ideas, a memorable sound, and a vivid imagination. Matched with Hank Mobley and McCoy Tyner in a quintet, Hubbard frequently blows the roof off the Blue Note studios, whether playing originals by Mobley and Kenny Dorham or his own “Blues For Brenda.” Some musicians take some time to become significant, but Freddie Hubbard was a giant from the start and the music he created on Goin' Up can rank with anything being recorded today.
 

As a member of the John Coltrane Quartet during 1960-65, McCoy Tyner introduced his influential style, leading jazz piano beyond Bud Powell into modal and postbop music. His thunderous yet lyrical playing perfectly fit Coltrane's adventurous flights. In 1967, when he recorded The Real McCoy, Tyner was ready to stake his claim as one of the most significant piano giants of the past half-century. Performing in a quartet with Joe Henderson and Elvin Jones, Tyner introduces such exciting numbers as “Passion Dance,” “Contemplation” and “Blues On The Corner.” One can hear the tumultuous 1960s in his playing, grounded with Tyner's own spirituality, contrasting percussive explosions with his own gentle nature. The music is invigorating and full of surprises, giving listeners a definitive look at the brilliance of McCoy Tyner.
 

One of the most innovative players and writers to emerge during the 1960s, Wayne Shorter's string of Blue Note albums were the finest of his career. The Soothsayer, which was not originally released until the late 1970s, would have been considered one of the top jazz albums of 1965 if it had come out at that time. While Shorter plays in a three-horn sextet (with inspired solos by Freddie Hubbard and James Spaulding) that is similar in instrumentation to the Jazz Messengers, his jazz home during 1959-64, his music is much more advanced and extremely original. No one else could have written such tunes as “Lost,” “Angola” and “Lady Day.” Shorter's playing and logic, like that of Thelonious Monk, follows its own logic. While this music is unique and futuristic, Wayne Shorter on The Soothsayer also points the way for modern jazz of the next 45 years. To say that he was ahead of his time would be a major understatement.
 

A major trumpeter who emerged in the mid-1940s next to Dizzy Gillespie, Fats Navarro and Miles Davis, Kenny Dorham was an easily recognizable, personal and very skilled bop soloist for 25 years. In a colorful career that found him sharing the bandstand with Charlie Parker, Art Blakey's Jazz Messengers and Sonny Rollins, Dorham not only became active in hard bop and developed into one of its most important leaders. A major talent scout, for 1963's Una Mas, Dorham not only helps introduce Joe Henderson (a regular member of his quintet) but features Herbie Hancock and Tony Williams before they joined Miles Davis. Throughout one of his most exciting recordings, Dorham performs three of his best originals (including "Una Mas") and "If Ever I Would Leave You" with fire, inspiration and lyrical beauty. On this superbly recorded reissue, a special bonus is the alternate version of "If Ever I Would Leave You."
 

Before Bobby Hutcherson rose to fame, the vibraphone was defined by Lionel Hampton, Red Norvo and Milt Jackson. In the 1960s Hutcherson became such a dominant force that vibes players were put into one of two categories: pre or post-Hutcherson. Playing with the power, intensity and inventiveness of a pianist, Hutcherson carved out a voice for his instrument in post bop and the avant-garde. On The Happening's, Hutcherson shows that the presence of Herbie Hancock, rather than inhibiting him or causing him to play it safe, had the opposite effect. Even on Hancock's "Maiden Voyage," the vibraphonist is the star. Hutcherson, who contributes six of his strongest compositions to this colorful set, displays his mastery of modal hard bop, plays a bit of marimbas, and matches perfectly with Hancock. The music is strikingly original and consistently brilliant.
 

This is the album that launched the Horace Silver Quintet. As a pianist, songwriter and bandleader, Horace Silver recorded quite a few superb sessions during his many years on Blue Note. His ability to write and improvise memorable melodies while infusing bebop with the blues epitomized soul jazz. Six Pieces Of Silver is his earliest gem. With Donald Byrd and Hank Mobley in his quintet, Silver debuts six new compositions. While "Senor Blues" became a hit and "Cool Eyes" was well known, each of the songs (which includes "Virgo" and "Shirl") rewards repeated listenings. The soloists are inspired by the fresh repertoire, Silver's playing is full of wit and soul, and on this record, the famous sound of the Horace Silver Quintet is heard for the first time.
 

One of the most soulful of all trumpeters, Blue Mitchell could be identified within two notes. Mitchell learned a bit about soul when playing with r&b bands in the 1950s and quite a lot more during his six years as a member of the Horace Silver Quintet. When he left Silver, he took the pianist's band with him including tenor-saxophonist Junior Cook, filling in Silver's spot with a youngster named Chick Corea. On The Thing To Do, arguably the finest of all Blue Mitchell recordings, the band introduces the very catchy "Fungii Mama," a true Blue Note highpoint which immediately became a standard. Other songs by Joe Henderson ("Step Lightly"), Jimmy Heath and Corea are prime hard bop that are filled with enthusiastic ensembles and solos that are direct and exciting. Mitchell and Cook consistently inspire each other and Corea displays strong potential for the future. The Thing To Do defines soulful straight ahead jazz of 1964, effectively making the case that Blue Mitchell was the king of soul jazz trumpet.
 

In 1961 Lee Morgan and Wayne Shorter formed the frontline of one of the greatest versions of Art Blakey's Jazz Messengers. In 1967 they had a reunion for The Procrastinator, showing just how much they both had grown through the years. Morgan, who had a major hit with "The Sidewinder" a few years earlier, had broken away from the Clifford Brown trumpet tradition to become a brash, adventurous and consistently stunning soloist who perfectly symbolized the era. Morgan's brand of forward-looking hard bop was influenced by free jazz and put a premium on uninhibited self-expression. Shorter sounded unlike anyone else and wrote highly original compositions. Playing in a sextet with Bobby Hutcherson and Herbie Hancock, Morgan and Shorter contributed all of the songs which include the funky "Party Time" (which could have been a hit for Horace Silver) and other pieces that push hard bop to its limit. The results are exhilarating, vital and timeless.
 

The word "indestructible" perfectly fits the legacy of the Jazz Messengers, the power of Art Blakey, and the music on this thrilling Blue Note album. Lee Morgan (who had recently succeeded Freddie Hubbard), Wayne Shorter and Curtis Fuller made an unbeatable frontline while Cedar Walton and Reggie Workman join Blakey in the rhythm section; talk about an all-star group! Performing their own originals, the band mixes together hard bop, soul jazz, modal music and funk to create a style that could really only be played on this level by the Jazz Messengers. The solos are exciting, the ensembles are powerful, and the passion of Blakey's drums pushes each of the young musicians to play at their most creative. This album is full of musical magic, more of which is revealed in each listen.
 

A Young Lion of hard bop in the 1950’s, altoist Jackie McLean became one of the most forward-thinking of the veterans in the 1960s. His sharp sound, passionate tone and advanced ideas combined with a strong musical curiosity that led him to explore freer sounds. One Step Beyond (1963) is one of his greatest triumphs on record. Inspired by Ornette Coleman and John Coltrane but playing very much in his own emotional style, McLean excels while interacting with the younger musicians on this remarkable set. Vibraphonist Bobby Hutcherson makes a piano redundant, Tony Williams shows that he was already strikingly original at this early stage. Trombonist Grachan Moncur III matches McLean's passion. Especially on “Frankenstein” and “Ghost Town,” McLean creates otherworldly music that still sounds powerful and provocative nearly 50 years later.
 

The Jazz world was more than ready for Freddie Hubbard when the trumpeter burst upon the national scene in 1960. Clifford Brown, an early influence on Hubbard, had died tragically four years earlier. While Lee Morgan was making his mark, Hubbard's arrival gave Jazz a new explosive and colorful virtuoso. His trumpet solos made him a giant within a short time. Ready For Freddie (1961) finds Hubbard completely emerging from the pack and taking his place among the elite. The trumpeter introduces two of his finest compositions, the uptempo blues “Birdlike” and the dramatic “Crisis” and plays beautifully on his ballad feature “Weaver Of Dreams.” He shows sidemen Wayne Shorter, McCoy Tyner and Elvin Jones that he was in their league, despite being only 23. This is one of the quintessential albums for which Freddie Hubbard is best remembered.
 

When Wayne Shorter first emerged in the late 1950s, he was originally thought of as a John Coltrane-influenced tenor-saxophonist. It quickly became apparent that, though Shorter shared some influences with 'Trane, he was a true original. His solos and compositions were so personal and unique that it became impossible to trace them back to any historical predecessors. His music defied any classification, falling into an undisclosed location between hard bop and the avant garde; connected to jazz but existing in its own musical world. Adam's Apple (1966) features Shorter at the top of his game. The album introduces the saxophonist's best known composition, “Footprints,” an abstract tribute to John Coltrane, “Chief Crazy Horse” and a haunting ballad, “Teru.” With Wayne Shorter cementing a musical friendship/partnership with Herbie Hancock that continues to this day, he creates a masterpiece that ranks among a handful of superb albums from the mid-1960s.
 

Stanley Turrentine had one of the most soulful and immediately recognizable sounds in Jazz. With a mere two notes, the great tenor could be instantly identified: every sound he made was overflowing with his own brand of soul. Look Out! (1960) features Turrentine at the beginning, on his first Blue Note album, when he was just 26. Having worked with R&B bands and with Max Roach, “Mr. T” was more than ready. On Look Out!, he plays bop, ballads and funk with intensity and passion. But it really doesn’t matter what song Turrentine plays; he turns everything into the blues, bending notes with his huge sound and playing straight from the heart. Look Out! was the record that launched Stanley Turrentine and made him a big star.
 

Throughout his career, Herbie Hancock has always pushed the boundaries, exploring a wide variety of music while bringing his flair to every setting. His Blue Note albums of the 1960’s ranged from post bop to Latin jazz (he penned “Watermelon Man”), straight ahead to free form. Empyrean Isles, recorded when Hancock was 24 and a new member of the Miles Davis Quintet, features the pianist pushing at the boundaries of hard bop, creating fresh, new music. In a quartet with Freddie Hubbard, Ron Carter and Tony Williams, Hancock shows that he was familiar with both avant-garde jazz and groovin' R&B. His four compositions include the original and most exciting version of “Cantaloupe Island” and the swingingly unpredictable “One Finger Snap.” Empyrean Isles brims with the power and adventure of the best 1960s Jazz, pushing ahead into uncharted territory.
 

In 1963, the year when Our Man In Paris was recorded, Dexter Gordon turned 40 and moved to Europe for what would be a dozen-year stay. Gordon had been the first important bebop tenor-saxophonist and a giant of Jazz since 1945. After some time off the scene in the ‘50s, he was signed to Blue Note. He returned with full force, playing with power, wit and his trademark huge sound, creating one masterpiece after another. On Our Man In Paris, he is clearly inspired by the playing of the innovative bebop pianist Bud Powell, himself at the peak of his powers, bassist Pierre Michelot and the pioneering bop drummer Kenny Clarke. Gordon plays chorus after chorus of fresh, swinging ideas on such tunes as “Scrapple From The Apple,” “Broadway” and “A Night In Tunisia,” making these Jazz standards sound as if they were written for him. This blazing bebop date is a constant joy.
 

During 1961-65, Grant Green was everywhere, recording one classic after another. He could play everything: his soulful sound and expertise with single-note lines and melodic style made him a perfect fit for bop jams, stirring bop sessions, free explorations, Latin music and Swing sets. Green added funk and fire to soul jazz combos, trading explosive statements with powerful organists. On Street Of Dreams, he magically updates the classic soul Jazz style in a quartet with Larry Young, Bobby Hutcherson and Elvin Jones. The young all-stars all display highly individualized solo styles, filling the set with memorable surprises and plenty of heat. The four lengthy selections are highlighted by superb treatments of "Lazy Afternoon" and "I Wish You Love." Most of all, it is the interaction between the four unique giants that make Street Of Dreams one of the great recordings of the early 1960s.
 

Wayne Shorter made a major impact on the Jazz world during 1963-64. He left Art Blakey's Jazz Messengers to become a member of the Miles Davis Quintet, and he recorded Night Dreamer and Juju as a leader for Blue Note. Speak No Evil is even notable than those two gems, for Shorter had developed into not only one of the most original tenor-saxophonists of the 1960’s but also one of its most vital composers. With superb playing by Herbie Hancock, Ron Carter, Freddie Hubbard and Elvin Jones, Shorter introduces six unique compositions including “Fee-Fi-Fo-Fum,” “Speak No Evil” and “Infant Eyes.” Hubbard and Hancock consistently raise the temperature with fiery solos. Shorter's playing and writing are both beyond description, utilizing a logic all his own which, over time, has become a major influence in Modern Jazz. Throughout Speak No Evil, Shorter creates brilliant new music like no one else.
 

Catalog Number MMBST-84147
Release Date: Sep 1,012

Herbie Hancock was only 23 when he recorded the amazing Inventions And Dimensions, his third Blue Note album. While Hancock had already recorded Takin’ Off and My Point Of View, he had quickly developed his own innovative style, and was about to become a member of the Miles Davis Quintet. Inventions and Dimensions is unlike anything he had previously created. Hancock manages the impossible feat of performing music that is both free form and very accessible. In teaming up with bassist Paul Chambers, drummer Willie Bobo and percussionist Osvaldo “Chihuahua” Martinez, Hancock might have been expected to play Latin jazz, but in reality this innovative album has Hancock freely improvising all of the pieces. He creates music that has melodies, drama, development, exciting moments and logical if unexpected conclusions. His performances may sound arranged and worked out in advance but Hancock made it all up on the spot, quite an accomplishment. Very few other pianists in the history of jazz could do this, but Herbie Hancock made it all seem effortless, creating a timeless gem as easily as most people breathe.
 

Catalog Number MMBST-84170
Release Date: Sep 1, 2012

In an issue of Downbeat from 2009, Joe Lovano named Free For All as his favorite Blue Note album of all time. “I heard Free For All in my late teens. The raw energy of this recording and the way Blakey called the spirits, how he fed everybody and they fed him, gave them a sense of ensemble and playing together. When Freddie Hubbard came into the band after Lee Morgan, he brought something different. The Jazz Messengers developed more openness and flow in the way they were playing, moving out of the hard-bop sound and concept, and stepping into new directions.” Art Blakey and the Jazz Messengers recorded many superb albums during its 35 years, but it would be difficult to top the intensity and spirit of Free For All. This 1964 gem features an incredible lineup that had worked together regularly for the previous three years, one consisting of Freddie Hubbard, Wayne Shorter, Curtis Fuller, Cedar Walton and Reggie Workman in addition to Blakey. The drummer instilled the love of swinging in each of the players, always pushing them to play at the highest possible intensity level without a second of coasting. On the dazzling “Free For All,” the soulful “Hammer Head” and an over-the-top version of “The Core,” the Jazz Messengers show that no other group could swing so hard at this explosive level.
 

Catalog Number MMBST-84166
Release Date: Oct 15, 2012

From the moment that Kenny Dorham picked a 25-year old Joe Henderson out of obscurity in 1962 and had him join his band, it was obvious that Henderson was a very powerful force, a young giant who sent shock waves through the jazz world. Henderson, who had a very distinctive sound from the start along with the ability to play both “inside” and “outside,” sounded very much at home whether playing bebop or free improvisations. He also proved to be a perfect musical brother for Dorham. Henderson’s In ‘N Out album finds the two horns expressing similar ideas, blending together perfectly, and creating memorable music that is beyond description. Every note that Dorham and Henderson play on this classic album is passionate, intense and meaningful. While most young musicians would be in awe if teamed with Dorham, McCoy Tyner, Richard Davis and Elvin Jones, Henderson not only had no difficulty playing with those masters, but he raised the intensity level and forced them to keep up with him. Rudy Van Gelder brilliantly captured this group, which has never sounded better than on this must-have reissue.
 

As pianist, composer and bandleader, Horace Silver put the soul back into jazz. He reinvented the jazz piano, taking it from Bud Powell, infusing jazz with both funk and church music, and writing very catchy songs in that style for his band. Finger Poppin’ was Silver’s first album with his best and longest-lasting group, a smoking band that was tight, cohesive, funky and very soulful. The quintet with Blue Mitchell and Junior Cook lasted five years and was unbeatable in soul jazz. Finger Poppin’ features Silver on eight of his finest compositions. Such tunes as “Cookin’ At The Continental,” “Come On Home” and “Juicy Lucy,” are heard in their original and greatest versions. With his electrifying band, Silver shows what funky jazz really is, making every note bluesy and joyful. No music collection is complete without Finger Poppin.’
 

Catalog Number MMBST-84187
Release Date: Dec 1, 2012

Larry Young took his instrument miles ahead of where Jimmy Smith had reigned supreme. Young not only had his own style on the organ, but he made the organ’s existence possible in the worlds of post bop, modal music and avant-garde jazz, taking it away from the bluesy clichés and reinventing it as a powerhouse of creativity. Young’s highly individual tonality always drew listeners into his music. Into Somethin,’ his debut on Blue Note, has him matching wits and creative ideas with the likes of Sam Rivers, Grant Green and Elvin Jones in an astounding band that only played together on this one occasion. Rivers is an avant-gardist with strong roots in the jazz tradition, Green was the most versatile and distinctive of guitarists (his tone is superb), and Elvin Jones is simply Elvin Jones. While his sidemen were better known than Young at the time, the organist keeps the ideas and grooves coming at an intense non-stop pace. The musicians blend together perfectly (Rudy Van Gelder’s genius is obvious throughout), the playing is at the highest caliber and, even decades later, Into Somethin’ is incredible.
 

Catalog Number MMBST-84205
Release Date: Dec 1, 2012

Everything that drummer Pete La Roca did before making Basra was a prelude in his career, and all of his later accomplishments are anti-climatic in comparison with this album. In 1965 La Roca, a respected but somewhat obscure drummer gathered together an unbelievable quartet comprised of Joe Henderson, pianist Steve Kuhn and bassist Steve Swallow for the Basra album. This was the only time that this group ever played together yet they sound very much like a major band that had been performing this music for years. Henderson is in astounding form, inspiring the other musicians to create famous versions of “Lazy Afternoon,” “Eiderdown” and “Malaguena,” renditions that are not only memorable but became the definitive way to play these songs. La Roca contributed three colorful originals that deserved to become standards while his very stimulating drumming helped to bring out the very best in the players. But it is Joe Henderson who lifts Basra into the cosmos, making the album magical and one of the must-hear recordings of the mid-1960s.
 

While Herbie Hancock had been recording brilliant albums for Blue Note since 1961, Speak Like A Child was made right after he left the Miles Davis Quintet and became a very powerful musical force as a bandleader. Speak Like A Child was Hancock’s musical vision, the music that he had dreamed of for years. The tonalities and harmonies were achieved by voicing together the unique frontline of flugelhorn, bass trombone and alto flute, and the results are quite dreamlike. Speak Like A Child welcomes listeners to the magical musical world of Herbie Hancock, a place where catchy melodies co-exist with his adventurous and utterly unpredictable solos, where his pent-up musical desires were finally being let loose, and where the haunting atmosphere is both calming and inwardly passionate. Nothing like this had ever been heard before, in jazz or in music.
 

As a pianist and a composer, Andrew Hill was always fearless. He stretched hard bop to the breaking point and, while his music included the best qualities of the avant-garde and modal jazz, it was so original that it did not fit into any one category. Hill’s series of Blue Note albums in the 1960s includes many treasures, music that still sounds original and futuristic today. On Judgment, he leads a quartet with Bobby Hutcherson, Richard Davis and Elvin Jones through his innovative compositions and, while the structures are complex and unpredictable, the music reveals its own logic and surprises. This is dynamic music that sounds unlike anyone else’s. These stunning performances grow in interest and value with each listen, fulfilling Alfred Lion’s vision of releasing timeless music that could have come from no other label.
 

Catalog Number MMBST-84159
Release Date: Jan 15, 2013

There are many reasons why Horace Silver and the Jazz Messengers is an album that simply must be in every serious jazz collection. This set from 1955 was both the debut of the Jazz Messengers and the first significant Horace Silver album. The original and best recordings of two of Silver’s most popular and enduring originals, “The Preacher” and “Doodlin,’” are among the many memorable highpoints. The fiery and lyrical playing of Kenny Dorham and Hank Mobley ranks with the very best of their careers, and the explosive drumming of Art Blakey is frequently unbelievable.The Jazz Messengers, Blakey and Silver virtually launch hard bop on this thrilling set, a true classic.
 

Catalog Number MMBLP-1518
Release Date: Mar 1, 2013

Grant Green was such a busy and consistently superb guitarist for Blue Note during the first half of the 1960s that some of his most exciting recording sessions became temporarily lost in the shuffle. Very few record collectors own the original version of Gooden’s Corner, a 1961 quartet album with pianist Sonny Clark that in the 1960s was only available in Japan. It seems remarkable that this record was so rare for so many years. Green performs dazzling and definitive versions of such songs as “On Green Dolphin Street,” “What Is This Thing Called Love” and “Moon River.” Clark, one of the truly great bebop pianists, is heard in one of his last sessions. His interplay with Green is magical and telepathic, making one grateful that these two greats teamed up on records even if few at the time ever heard this. Gooden’s Corner, a long-lost treasure. is now available in impeccable sound.