Featured

On 1964’s Into Somethin’—his first album for Blue Note—Larry Young made it abundantly clear that he had his own unique approach to the Hammond B-3 organ. Rather than the tried-and-true soul jazz sound so strongly identified with the instrument, Young explored more modal territory over the course of his six Blue Note albums including this tremendous session featuring tenor saxophonist Sam Rivers, guitarist Grant Green, and drummer Elvin Jones. The remarkable album cover design by Reid Miles made excellent use of a memorable photograph by Francis Wolff. 

This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal – Blue Note

Ben Webster had long before passed through the ranks of imitator, then pupil and finally master. His "college attendance," as one might put it, in the Duke Ellington Orchestra gave him a sureness of expression in his great showpieces and he also learned to hold his own against such musical giants as Paul Gonsalves and Jimmy Hamilton. "Hawk" was able to thoroughly enjoy his fame in numerous Jazz At The Philharmonic concerts given all over the world, where, of course, he had to assert himself against many other saxophone players. Two such JATP ensembles are to be found on the Confrères LP. The relaxed atmosphere is particularly noticeable in the title "Sunday" in which Roy Eldridge comes into the limelight with a brilliant solo. And just listen to George Buvivier's marvelous bass playing (in "Nabab!") where he certainly has no reason to hide in the shadow thrown by Ray Brown. Coleman Hawkins' voluminous, supple sound which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard after Roy's solo in "Honey Flower." – Acoustic Sounds

In his desire to leave the jazz indie label Prestige and join the affluent major Columbia, for a lucrative recording deal that would eventually establish him in the mainstream as a household name, Miles Davis agreed to stockpile several albums’ worth of material for producer Bob Weinstock’s small company, thereby fulfilling his contractual obligations. Though recorded quickly over just two sessions, the resulting albums – Cookin’, Relaxin’, Workin’ and Steamin’ With The Miles Davis Quintet – remain key post-bop albums and a fascinating look at Miles’ earliest recordings with his first great quintet. – U Discover Music 

This excellent LP by the classic John Coltrane Quartet (with pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) is highlighted by a 26-minute version of "Mr. P.C." Also included on the album are "The Inchworm" and the ballad "Every Time We Say Goodbye." Although the sound and passion of the group on this date will not surprise veteran listeners, it is always interesting to hear new variations of songs already definitively recorded in the studios. The Paris Concert is recommended to all true Coltrane fanatics. – All Music

This is John Coltrane from the period when he was a member of Miles Davis' legendary 1950s quintet, accompanied by fellow quintet members Red Garland and Paul Chambers. This is Coltrane in a relaxed bop mode, making some swinging, relaxed jazz in the vein of Sonny Rollins and Stan Getz (the latter in his more boppish mode). This is not the fire-breathing saxophonist of the mid-'60s, but a player who was beginning to push against the boundaries, all the while playing with thoughtful, imaginative lyricism. It's a set of little-known pop tunes of the era, with the exception of Jackie McLean's "Little Melonae." Anyone who likes the mainstream jazz of the '50s, or Miles' music of that time, or Coltrane fans who want to hear their idol in an easygoing context, should pick this up. – All Music

The last of the Jackie McLean Prestige sessions, this LP has material from two different sets, but fortunately, the music is on a higher level than one might expect of "leftovers." "Strange Blues" is from a marathon quartet set that McLean had with pianist Mal Waldron, bassist Arthur Phipps, and drummer Art Taylor, as is a rendition of "What's New" that is an alternate version to the one included on Makin' the Changes. In addition, "Disciples Love Affair" and "Millie's Pad" match McLean with the tuba of Ray Draper (who contributed both songs), trumpeter Webster Young, pianist John Meyers, bassist Bill Salter, and drummer Larry Ritchie, while the incomplete "Not So Strange Blues" is all McLean on an explosive blues with the rhythm section. A generally strong set chiefly recommended to Jackie McLean completists. – All Music

Art Pepper made a name for himself around Los Angeles in the '50s as a leading light in the style then known as West Coast jazz -- a cool alternative to the hot hard bop being made in East Coast cities like New York and Philadelphia. Pepper never really fit the cool stereotype, however; he was too incendiary a soloist (influenced by Lester Young, perhaps, and Bird certainly), more inclined to inject overt anger and passion into his playing than contemporaries like Getz or Mulligan. By the time these sides were made in 1976, any residual coolness had been displaced by hot emotionalism and an almost manic intensity. The lessons of John Coltrane had clearly been absorbed, harmonically and otherwise; not only was Pepper more assertive than ever, but he also took more chances. Polish is for shoes and fingernails: by the late '70s Pepper was rough, raw, and nakedly vulnerable. Every solo this late in his career was an adventure. – All Music

American jazz saxophonist Pharaoh Sanders' live in 1982 with a spectacular quartet – John Hicks on piano, Walter Booker on Bass and Idris Muhammad on Drums. Some beautiful tracks on here such as “You Got To Have Freedom” & “It’s Easy To Remember”. Can’t find much samples of the album online so you ought to have this LP on your turntables! Check it out.

Recorded when he was only 19, Candy was one of the first albums (along with The Cooker, recorded the same year) where Lee Morgan showed his own unique style. His prodigal technical virtuosity had already been proven at this time in the Dizzy Gilliespie band, but Morgan's first solo ventures had been remarkable only because of his young age. Here, the influence of some of Morgan's mentors can be seen, but instead of just emulating the style of older trumpeters like Clifford Brown, he has begun absorbing bits and pieces of the phrasing and style of a wide range of musicians, from Gillespie to Miles Davis, then using them to forge his own sound. Morgan places himself front and center here -- there are no other horns to carry the melodic lines, leaving him quite exposed, but he manages to perform beautifully. – All Music

Among 33 albums recorded with American jazz, blues, soul and funk trumpeter Blue Mitchell as a leader, Bring It Home To Me from 1966 is the thirteenth. This is not only an excellent album, but also the artistic peak of Mitchell's discography. The album mixes modal harmonies, lyrical moments and groovy, even funky rhythms. This album is very rare on LP format and very hard to find with a restored analog sound. Blue Mitchell is here joined by Junior Cook on tenor, Harold Mabern on piano, Gene Taylor on bass and the great Billy Higgins on drums. The artistic direction is strong, the aesthetic is powerful. – Forced Exposure

Recorded in 1958, Minor Move was Tina Brooks’ very first recording, though it wasn’t released until 1980, 6 years after his tragic death at the age of 42. In fact, Brooks’ 1960 classic True Blue was the saxophonist’s only album released during his all-too-short lifetime. Once all 4 of Brooks’ Blue Note albums were released his status as one of the most innovative tenor saxophone stylists in jazz has become clear. As Larry Kart notes in the album liners, Brooks’ sound, with its prayerful, airy and speech-like tone, sets him apart. “Brooks was one of those musicians for whom feeling and sound were one.” On this set featuring 2 Brooks originals and 3 standards, the saxophonist is joined by a veritable who’s who of hard bop royalty with Lee Morgan on trumpet, Sonny Clark on piano, Doug Watkins on bass, and Art Blakey on drums. – Blue Note

Hot on the heels of Impulse’s recent unearthed Coltrane number one hit album comes another beauty from Jazz’s ‘holy trinity’. This is a previously unreleased, precious lost treasure from Monk’s most critically acclaimed line-up; Charlie Rouse on saxophone, John Ore on double bass, and Frankie Dunlop on drums. Without a widely agreed must-have Monk release, could this fill the void as the Monk everyone should own? Recorded live in Copenhagen in 1963 at the peak of Monk’s career. A year later he was to feature on the cover of TIME magazine, one of only for 4 Jazz artists ever to do so. The performance, a mixture of Monk originals and interpretations of standards, showcases Monk at his prime: full of avant-garde flair and wit, but always with a swinging feel that explains his title as the 'High Priest of Bebop'. The original tapes, saved from a skip and blessed with the approval of the Monk estate, have been faithfully restored, mastered and cut using Gearbox's legendary all-analogue process.

Trumpeter Donald Byrd and baritone saxophonist Pepper Adams had a formidable partnership throughout the early 1960s, making a series of highly regarded hard bop albums. Yet somehow this masterful quintet session from April 1961 (which also features Herbie Hancock, sounding exceptionally fine on his very first Blue Note recording session) remained unreleased for nearly 20 years. Of particular note are Herbie’s playing on “Great God” and the sophisticated excellence the entire ensemble brings to Duke Pearson’s masterpiece composition “Chant.” - Blue Note 

"Teamed up with pianist Kenny Drew, bassist Niels Pedersen and drummer Albert “Tootie” Heath for a club date at Copenhagen’s Montmartre in 1967, the great tenor saxophonist Johnny Griffin really stretches out on four numbers: “The Man I Love,” “Hush-A-Bye,” “Blues for Harvey” and a memorable version of “The Masquerade Is Over.” Griffin shows why he was early on billed as “the world’s fastest tenor” although he also displays warmth on “Sophisticated Lady.” A fine example of Griffin’s underrated talents." - ORG Music

Grant Green's debut album, Grant's First Stand, still ranks as one of his greatest pure soul-jazz outings, a set of killer grooves laid down by a hard-swinging organ trio. For having such a small lineup, just organist Baby Face Willette and drummer Ben Dixon -- the group cooks up quite a bit of power, really sinking its teeth into the storming up-tempo numbers, and swinging loose and easy on the ballads. From the first note of "Miss Ann's Tempo," they establish a groove, and swing like hell through two standards and four originals. This may have been Grant Green's debut album, but all three of these musicians share equal responsibility in this magnificent January 28, 1961 date, remastered by original recording engineer Rudy Van Gelder from the original analog masters.

This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal. – Blue Note

A TAV Curator's Pick.

The Cannonball Adderley Sextet in New York is a live album by jazz saxophonist Cannonball Adderley recorded at the Village Vanguard and released on the Riverside label featuring performances by Adderley with Nat Adderley, Yusef Lateef, Joe Zawinul, Sam Jones and Louis Hayes. 

“This excellent live date from the Village Vanguard was the recording debut of the Adderley sextet, with Cannonball waxing eloquently and swingingly on alto, brother Nat charging ahead on cornet, and the versatile Yusef Lateef (who had joined the band only three weeks earlier) adding a bit of an edge on tenor, flute, and unusually for a jazz wind player, oboe on the odd, dirge-like "Syn-Anthesia." Also, this was the first recorded appearance of pianist Joe Zawinul – a little over three years since his arrival in America – in Cannonball's band. This group would be Zawinul's spring-board to prominence in the jazz world, and readily apparent is how his compulsively funky mastery of bop and the blues had fused tightly with the Sam Jones/Louis Hayes rhythm section. Included is one of the earliest recordings of a Zawinul composition, "Scotch and Water," a happy, swinging blues.” – AllMusic

“…Compositionally, the highlights are the opening tune, "Gemini" (Jimmy Heath's bi-modal 6/8 blues); "Dizzy's Business" (a bebop gem by Basie arranger Ernie Wilkins); and an infectious Zawinul blues, "Scotch and Water." Yusef Lateef's compositions are not especially memorable in themselves but, along with his playing, provide richness, depth, and resonance lacking on the Brothers' other recordings. And his tenor playing is so good on the set chaser by Sam Jones, one wishes the record-ing would simply run on. Even with the addition of Lateef, Cannonball dominates throughout. His introductory remarks on what it means to be truly "hip" ("hipness isn't a state of mind: it's a fact of life") are immediately illus-trated by an arresting, hard-charging solo: he's a flaming comet on "Gemini," placing the ensuing soloists in the unenviable position of maintaining the brightness. But give equal credit to unsung he-ro Sam Jones, an unflappable walker whose every gritty note is distinct with no extra help from the engineering.” – All About Jazz 

Item description:

Time Further Out is a 1961 studio album by the Dave Brubeck Quartet. It features the "Classic Quartet": pianist Dave Brubeck, alto saxophonist Paul Desmond, bassist Eugene Wright, and drummer Joe Morello. The album was recorded by engineer Fred Plaut and produced by Teo Macero. – Wiki

“Unlike most sequels, Time Further Out is a worthy successor to Time Out. Among the numbers introduced on this impressive set are "It's a Raggy Waltz" and "Unsquare Dance" (the latter an ancestor of Don Ellis' "Pussy Wiggle Stomp"). The selections, which range in time signatures from 5/4 to 9/8, are handled with apparent ease (or at least not too much difficulty) by pianist Brubeck, altoist Paul Desmond, bassist Eugene Wright, and drummer Joe Morello on this near-classic.” – allmusic

Item description: