To explore the long and illustrious body of work that is Blue Note’s is to learn the history of jazz.
One would easily venture for the classics: you could already start and indulge in John Coltrane’s career-defining Blue Train, a masterpiece of hard bop as they come. Or you could expand your horizons with Eric Dolphy’s revolutionary Out to Lunch!, which nudged the label into the fringes of the avant-garde jazz world.
Or, if you’re recovering from a long day, you could sink into the tranquil and adventurous Maiden Voyage, which allowed a 25-year-old Herbie Hancock to establish his name outside of his work in Miles Davis’ “second great quintet” of the 1960s. And those barely skim the surface of the label’s most celebrated oeuvre.
But as Blue Note recently commemorated 80 years as a record label, the libations were preceded by a deep pondering over their output. Don Was, president of Blue Note Records since 2012, was tasked with recalibrating the label’s focus after years of releases that veered toward adult contemporary pop — album releases by Norah Jones, Priscilla Ahn and The Bird and the Bee, while distant from the world of jazz, were commercial hits for them.
All the while, classic titles have been dutifully kept in print with digital remasters, replete with enticing bonus tracks, and premium vinyl releases that appealed to the die-hard audiophiles, produced with the help of boutique label Music Matters.
Was, an established musician in his own right, took his newly-minted post with zeal by signing newer artists. Amongst the names he’s secured and nurtured are Robert Glasper (he once described Glasper’s 2012 genre-bending odyssey Black Radio as “everything I want to do at Blue Note”, Jose James and Ambrose Akinmusire, and the label’s taken on recent efforts by younger talents like Tom Misch & Yussef Dayes, Agnes Obel and GoGo Penguin too.
He was also eager to place a spotlight on the label’s lesser-known works, and it is with the Tone Poet series that that latter vision is fulfilled, 180g vinyl and tipped-on Stoughton jackets included. At a glance, the Tone Poet series might appear as yet another vinyl reissue series marketed by a legacy label — and, sure, it is — but the inner workings behind each title make this series a remarkable standout for any jazz lover and curious music collector.
It’s also important to note that with the Tone Poet project, Blue Note was not able to achieve this alone. Enter Joe Harley.
Harley was previously an ally in their vinyl reissue campaign as producer at Music Matters. The label has made it a practice to source original master tapes for any title, cutting brand new vinyl through a strict all-analog method. Those buzzwords are enough to light a fire in any 50-year-old vinyl purist, and Was has repeatedly proclaimed that the label had “cracked the Blue Note code”.
With the Tone Poet series, Harley and his crew — which includes prolific mastering engineer Kevin Gray — brought over their analog rituals from Music Matters, as instructed by Was. “[He] asked about every aspect of production, from the mastering, to the plating, pressing and jackets,” Harley writes in an essay.
“He literally said, “however you do it for Music Matters, that’s how we want to do it here. And I want you to help us achieve that.” How could I say no???”
The process of returning to the original master tapes — a meticulous and time-consuming process embraced by the likes of Mobile Fidelity Sound Labs and Analogue Productions — is usually achieved in hopes to replicate the listening experience offered by original pressings, many of which are now scarce and continually in-demand by collectors. For Blue Note, however, they have had to make adjustments for the modern age.
As Harley explains in this video, Rudy Van Gelder, iconic Blue Note engineer, had made technical concessions for listeners in the 1950s/1960s when cutting their records, keeping in mind that most of them played their precious Blue Notes on consumer-grade turntables (ie. ones with tonearms closer to the build and quality of Crosleys than Pro-Jects).
“He would roll the low-end and bump at 90 or 100 [Hz],” Harley elaborates. “So you hear some bass…but the kind of stuff that would get a stylus in trouble and make a record skip? He would roll off.”
Now, with unfettered access to the Blue Note vaults complete with engineering notes by Van Gelder, Harley is able to take full advantage of the frequency range that a studio master tape can provide. Theoretically, these titles are then able to offer audio characteristics deemed more accurate when compared to the original pressings (unless you’re aching for the signature RVG “sound”, in which case, happy spending $200+). The reviews have spoken, and they’re glowing.
The gatefold jackets printed for each title come with extensive liner notes and restored photos, issued to perfection by Stoughton Printing, recreating the tip-on look of the classic Blue Note sleeve. While the production process remains the same, what distinguishes the Tone Poet project from anything Harley has done at Music Matters is curation.
With input from Was, the titles selected are considered lesser-known and under-appreciated within the grander scope of Blue Note’s story. So while you may not be able to find a souped-up edition of Maiden Voyage in this series, you can explore Hancock’s The Prisoner, a mournful, socially-conscious effort that the musician deems “closer to the real me… than on any other previous one.”
The bulk of Music Matters’ work with Blue Note has consisted of mostly hard bop classics, but with Tone Poet, the wider breadth of styles and sounds that Blue Note has offered over the decades is slowly being unearthed. Fortunately, the ongoing campaign began in early 2019, with over 20 titles now available. Here are some of our picks to get you started.
The work of Dr. Lonnie Smith, first heralded by his 1969 Blue Note debut Think!, is testament to an imaginative fusion of soul, funk and jazz. All In My Mind is a celebration of his work, recorded live in 2017 at his 75th birthday celebration.
While this Tone Poet edition is a streamlined version of the digital release, it cherrypicks the most intriguing performances of that night. Dr. Smith has made his name with funky reworks that tackled songs like Hugh Masekela’s ‘Son of Ice Bag’ and Carole King’s ‘I Feel the Earth Move’, and this set was marked by spirited renditions of compositions by Wayne Shorter, Freddie Hubbard and Paul Simon.
With each track averaging at 8-9 mins, this is a live album to delve into — the vitality of Dr. Smith captured herein, at age 75, will blow you away.
An important chapter in the advent of post-bop in the early 1960s, Black Fire was the sophomore effort by a 32-year-old Andrew Hill, but it quickly established the pianist as a singular voice that veered towards the avant-garde.
While Point of Departure and Compulsion!!!! are celebrated by followers as Hill’s deep plunge into the abstract, Black Fire had already broken ground by challenging bebop conventions. With the help of saxophonist Joe Henderson, bassist Richard Davis, and drummer Roy Haynes, Hill draws upon the unhinged within familiar form and structure.
It’s the kind of album that will compel you to sit up and pay close attention — more than 50 years later, it’s still standing strong.
Within the first few seconds of the first track ‘Ode to Billie Joe’, you might already stumble upon something vaguely familiar.
The song kicks off with a leisurely drum break, one that has been sampled across hip-hop — from the beat that pushes Kanye West’s ‘Jesus Walks’ to full-throttle, to the serene moments that add to the uniform weirdness of A$AP Rocky’s ‘L$D’, it’s as iconic as they come.
Mr. Shing-A-Ling is far and beyond the most playful entry in this list — although sharing a spiritual kinship with All In My Mind, as it prominently features the smooth organ work of Dr. Liston Smith himself — and it’s a terrific party starter with its embrace of hard-knuckled funk grooves and gliding saxophone solos.
Duke Ellington, Max Roach & Charles Mingus - Money Jungle
A jazz album that rarely gets the respect it deserves, Money Jungle is the coalescing of three disparate and brilliant minds — the elder statesman Duke Ellington, aged 63 at time of recording, banded together with Charles Mingus, an avant-garde visionary with a fiery body of work, and bebop pioneer Max Roach.
What transpires is a collision still unmatched to this day. The recording sessions were denoted by tension, and the performances result in a grittier experience than most of Ellington’s lyrical discography.
For decades, however, the resulting recordings have been hindered by a sub-par mix — with distortion and imaging problems that bury the performances at crucial moments — so the Tone Poet reissue arrives as a godsend. It’s a significantly cleaner mix with added clarity and heft, especially with respect towards Roach’s fiery and polyrhythmic drum work.
Cassandra Wilson - Glamoured
Cassandra Wilson has the distinction of being one of the few contemporary voices put to wax in this series, and it’s not hard to see why.
Her 2003 effort Glamoured is a consolidation of Wilson’s powers, imbuing a mix of originals and covers — as wide as Bob Dylan’s ‘Lay Lady Lay’ to the Stax Records staple ‘If Loving You Is Wrong’ — with the same kind of languid energy that makes it a hypnotic listen. The vocalist is joined by the likes of multi-instrumentalist Fabrizio Sotti, who sat in the producer’s seat alongside Wilson, and drummer Terri Lyne Carrington, whose distinguished solo work includes a reimagining of Money Jungle.
Now a relic of Blue Note’s adult contemporary era, it’s concrete proof that the label has never slept at the wheel, just attempting different routes.