- Jazz / Mainstream Jazz - Art Blakey
A Night At The Birdland Vol.1 5321462
Rudy Van Gelder’s Edition
Editor’s info
On the evening of February 22, 1954, Blue Note recorded Art Blakey's quintet at Birdland and the jazz landscape changed forever. Art Blakey, already the most exciting drummer in modern jazz, established himself as a bandleader with an ear for young talent. Trumpeter Clifford Brown, alto saxophonist Lou Donaldson and pianist/composer Horace Silver became major players on the scene. Added to each of these historic albums are two bonus tracks from that night.
- Jazz / Mainstream Jazz - Art Blakey
Indestructable 5917202
Rudy Van Gelder’s Edition
- Jazz / Mainstream Jazz - Art Blakey
A Night At The Birdland Vol.2 5321472
Rudy Van Gelder’s Edition
Editor’s info
On the evening of February 22, 1954, Blue Note recorded Art Blakey's quintet at Birdland and the jazz landscape changed forever. Art Blakey, already the most exciting drummer in modern jazz, established himself as a bandleader with an ear for young talent. Trumpeter Clifford Brown, alto saxophonist Lou Donaldson and pianist/composer Horace Silver became major players on the scene. Added to each of these historic albums are two bonus tracks from that night.
Yes, yes, yes
Reviewer: Reggie from Los Angeles, California
Trying to explain something of value to a novice is like trying to explain the finer points of a Model T Ford to a 21 year-old. The age if this recording is secondary to the level of improvisation and creativity. The ability to communicate the language of what was then known as modern jazz is both timeless and priceless.
No, no, no...
Reviewer: Kalixt from Warsaw, Poland
Now those records are a bit too old, aren't they? I always liked Blakey, I loved Silver, but their stint with Donaldson and Brown comes out to be a bit boring. Of course, I can't say that any of those guys was bad or stupid or whatever, but such frontline appears to be wrongly set. Brown's playing is perfect and that means - everyone else should play perfectly as well or the whole building collapses. But how should Donaldson or Blakey fit to this type of thinking? It would be better for all if Clifford moved to California to play with the all-boring cool-men. That was obviously his place under the sun. However, there are nice tracks here. For example - The Way You Look Tonight. From the beginning you feel the musicians are all into it, they play it (almost) the way it should be played. Maybe it's because it is such a "nice" and "happy" song? 'Cause the blues is, ironically, the thing they couldn't feel while together.
awfully good!
Reviewer: Anton de Vreugd from Amersfoort, the Netherlands
This music gives me endless joy, ever since the first time I heard it about twelve years ago when I was 18. Energetic and furious, each soloist seems to be flaming with sacred fire. Blakey's recordings for me were the start of a neverending hardbop addiction.
An Historic Recording!
Reviewer: Jeff from Pittsburgh, PA
This is one of the definitive jazz works of modern time! All jazz aficianados should have this one!
- Jazz / Mainstream Jazz - Art Blakey & The Jazz Messengers
At The Cafe Bohemia Vol.2 5321492
Rudy Van Gelder’s Edition
Editor’s info
The original Jazz Messengers (Kenny Dorham, Hank Mobley, Horace Silver, Doug Watkins and Blakey) created a soulful, intelligent approach to modern jazz that came to be called hard bop. Each volume of these great live sessions includes three bonus tracks added to the historic albums.
Reviewer: Reggie from Los Angeles, California
Great Recording ! Very impressed with beautiful articulate expression of Kenny Dorham. Blakley is unmistakable as always. Blue Note has captured the "true essence" of jazz music.
hard bop gold
Reviewer: Harry from from Holland (Europe)
I was very surprised I couldn't read a review about this live-masterpiece, I think you hear Dorham at his best, Blakey calls him "the uncrowned king" right said! "Like someone in love" is one of the most beautiful ballads I've ever heard ! Listen wat Watkins is doing on his bass.Mobley is getting warmth-up for his later masterpieces under his own name, it's allready under his skin, you can hear it! Buy it, you will never regret it!
- Jazz / Mainstream Jazz - Art Blakey & The Jazz Messengers
At The Cafe Bohemia Vol.1 5321482E
Rudy Van Gelder’s Edition
Editor’s info
The original Jazz Messengers (Kenny Dorham, Hank Mobley, Horace Silver, Doug Watkins and Blakey) created a soulful, intelligent approach to modern jazz that came to be called hard bop. Each volume of these great live sessions includes three bonus tracks added to the historic albums.
alive
Reviewer: Patrick, Québec from Québec
Good live record... i think it's the first lp featuring hank mobley with the messenger! A piece of cake!
Smokin'
Reviewer: Reggie from Los Angeles, California
These guys really had a great sound! I think they were all on the same page. This is classic bebop recording! A must for any true "orinthologist".
happy times
Reviewer: ben weis from
the best massangers album without a doubt.
noche memorable
Reviewer: Joan Mena from Barcelona-Spain
Para los afortunados que esa noche estaban en el local tuvo que ser una sesión memorable, para los que no estuvimos en el Bohemia, nos queda el consuelo de la grabación.Pura magia
Hard bop at it's peak
Reviewer: Sid Catlett from Atthens, Greece
All the elements that the jazz messengers are famous for, you'll find in this recording. Great compositions and even greater interpretation that shows the exuberance of talent in this lineup. Proud to have it on my collection.
the dorham sax a like
Reviewer: roberto bergami from Antwerp
the way dorham is playing these trumpet solo's is really unique. so fast, hard and precise, almost as a sax player, is beyond ... the way mobley steps up and blakey supports tops off the performance. together with adderley, parker and miles live albums, a must have.
An Excellent Recording of Superb Live Jazz
Reviewer: James Socorro from Vancouver B.C. Canada
The many incarnations of Art Blakey's music all rely on the same ingredients; that is a group of up and coming musicians of uncommon talent, honed to excellence under the uncompromising tutelage of Blakey. For this reason, lackluster performances are a rare occurence, and this album upholds the rule. "At the Cafe Bohemia" is excellently recorded, and captures a 'happening' night of superb music that both showcases the individuality of the members, while equally displaying the fine arrangements of the band as a whole. This is no more apparent that on "Prince Albert", Kenny Dorham's tune built on the chords of "All the Things You Are". Dorham and Mobley both weave solos that are both mellifluous and driving, while the trading fours demonstrates the cohesiveness that make The Messengers one of the few, if not the only, in the class of the Davis' Bands. Blakey's drumming is subtle yet full of the inimitable vigour that has imbued all of his bands with the same irrepresible spirit.
- Jazz / Mainstream Jazz - Blakey, Art & The Jazz Messengers
Moanin' 4953242
Rudy Van Gelder’s Edition
Editor’s info
Top 10
Reviewer: José Eduardo Antunes Santos from Curitiba - Brazil
Moanin' is possibly one of the most impressives CDs of jazz ever recorded. The meeting of this musicians makes it absolutely necessary in any colection. The title song demands a generous shot of whisky and the freedom of imagination.
Making babies and moanin
Reviewer: marc from atlanta
This is by far my favorite cd especially since it was playing regularly while trying to conceive my son and then played at his birth. Art is the greatest!
The best example of hard bop
Reviewer: Lucas from Buenos Aires, Argentina
I´m 13 years old and I think "Moanin´" is the best example of hard bop. If you love jazz, you must listen "Moanin´", because it´s exelent
Don't sell "Moanin' " short
Reviewer: Chalupaman from beautiful San Marcos, Ca
A starting place for beginners? That is the dumbest and most insulting remark I have ever heard about any piece of great music. "Moanin" is a masterpiece for Blakey, Morgan, and Golson. I don't believe any of the Jazz Messenger sessions were better than this. The songs are very accessible, but by no means trite or amateurish. This session is easy to appreciate because it is played as well as anything in jazz. A good starting place for jazz beginners might be "Heavy Weather" by Weather Report or something by the Jazz Crusaders. This is a jazz classic and a benchmark for the Jazz Messengers. One more comment: Has anyone noticed how many superb and classic jazz pieces by different groups share the same players? Lee Morgan and Joe Henderson appear on so many classic jazz sessions, it is almost rediculous. It is no surprise to me that Lee Morgan appears here. Of course!! 5 very large notes. "Moanin' " is wonderful.
The place to start
Reviewer: Jean-Francois Hayeur from Montreal, Canada
I work in a record store and i always suggest Moanin as a starting point for new fans of jazz. It will make you snap your fingers and tap your toes.
The Essence of Hardbop
Reviewer: Aaron from Connecticut
The whole group is always swinging hard and playing profoundly. In addition, although every musician is definitely playing in their own unique style, each solo contrasts and connects with one another in almost every song. Therefore, there is constantly movement throughout each piece, making the whole album sound interesting. So even though some of the tracks last a substansial amount of time, I never get bored listening them. Golson's compositions are also oustanding. Even though "Moanin'" isn't the most groundbreaking album in jazz, it surely shows Art Blakey and the JMs and the whole sub-genre of hardbop at its best. By the way, a previous review stated that Wayne Shorter was playing tenor, when it is actually Benny Golson.
Moanin'
Reviewer: Alvin from USA
This is a great cd but really the one thing I want to point out has to do with an earlier review by Justin Luckin from downton Chicago. So What sounds nothing like Moanin'. If your comparing the two because of that same lick that the saxes play on Moanin, then Id just like to point out that many jazz and blues songs use that. So What is totally different.
Hard bop king!
Reviewer: illiniboy from Noble Square, Chicago
This may be Mr. Blakeys finest band. And that is saying a ton. This is staight forward hard bop that is consitantly very exciting. These are some of the finest songs of Blakeys hugely recorded catalog of work and these are the definitive versions. Songs like the classic Bobby Timmons tune "Moanin'" and the Benny Golson tunes "Along came Betty", and "Blues March" stand out and the whole album is a great listen. I am looking forward to wearing my copy out so I can buy the RVG edition.
Where have I been?
Reviewer: David Olifant from Houston, USA
Simply one of the greatest jazz CDs I have heard. Tremendous solos by all involved. Awesome percussive strength. I had never listened to Blakey before as I am a relative newcomer to Jazz. I took a flyer on this disk at hit it big. The remastering is great.
RVG Editions Finest Remaster!
Reviewer: Woodling from Santa Cruz, Ca. USA
The masterful performance of this incredible ensemble, coupled with state of the art remastering by the jazz worlds finest sound engineer, make for an incredible listening experience. The sound is so good you could imagine this was recorded yesterday instead of 44 years ago! All the musicians are playing at their finest (Lee Morgan and Bobby Timmons especially.) This is one of my all time favorite jazz recordings.
esto es hardbop!!!
Reviewer: Pedro from spain
Para mi, el mejor grupo que jamas reunio art blakey; destacan las composiciones de benny golson y sobre todo el moanin´ de bobby timmons. La compenetración entre buhaina y lee, y el toque percusivo de timmons.
A true classic
Reviewer: Chaz from Cambridge England
I recently bought this RVG version, and I am impressed by the first track, which is merely the warm up! Very interesting! I have to say the best track is the drum thunder suite. Cry a blue tear is the best part. Truely brilliant.
You ain't got moanin' you ain't got nuthin'
Reviewer: Doyleydo from Richmond, VA
Top 5 albums. Ever. No discussion.
Just fine
Reviewer: Niklas Wandt from Germany
Everybody who knows how jazz is written should have this CD.Those legendary classics like "Moanin'" and "Blues March" are two of the best songs the Messengers ever performed. With the good remastering and the alternate "Moanin'"-Take, it's a superb reissue.
great tunes
Reviewer: JASON from PUERTO RICO
Moanin'is definitely one the greatest jazz tunes ever! LeeMorgan offers a great solo, even though it is similar to his solo on a live recording that I heard by the Messengers while they toured Japan in 1961. Still he is brilliant on all tunes and I believe him to be one of the greatest swingers that I have ever heard along with Clark Terry and Clifford Brown. Benny Golson whom I had never heard until this album not only impressed me with his sax skills but also with his compositional talent on ALONG CAME BETTY and BLUES MARCH. Bobby Timmons has become one of my favorite pianists thanks to MOANIN'. His solo ideas are refreshing and funky. MORGAN,GOLSON,MERRITT,TIMMONS AND OF COURSE ART BLAKEY ARE CLASSIC ON THIS ALBUM!!
great tunes
Reviewer: JASON from PUERTO RICO
Moanin'is definitely one the greatest jazz tunes ever! LeeMorgan offers a great solo, even though it is similar to his solo on a live recording that I heard by the Messengers while they toured Japan in 1961. Still he is brilliant on all tunes and I believe him to be one of the greatest swingers that I have ever heard along with Clark Terry and Clifford Brown. Benny Golson whom I had never heard until this album not only impressed me with his sax skills but also with his compositional talent on ALONG CAME BETTY and BLUES MARCH. Bobby Timmons has become one of my favorite pianists thanks to MOANIN'. His solo ideas are refreshing and funky. MORGAN,GOLSON,MERRITT,TIMMONS AND OF COURSE ART BLAKEY ARE CLASSIC ON THIS ALBUM!!
Definitive CD version!
Reviewer: Isaku Higa from Washington DC, USA
Another Jazz treasure reborn by the hands of RVG. Definitive CD version! I think he has done justice to this work by moving alternate take to the end of the CD thus keeping the integrity of the original issue. It is a blessing for simple Jazz affectionado like me who is more concerned with listening to the album than comparing alternate takes. RVG's mastering also brings back the signature "blue note sound" that can usually be heard in vintage LP issues that trades for more than 10 times the cost of this CD in the collector's market. I hope all of RVG series will be available in US (much more are available in Japan).
BLAKEY'S POP ALBUM
Reviewer: Justin Lukin from Downtown Chicago
"Moanin'" was the 1st Blakey CD I bought...and honestly I was impressed. However, I have gathered many Blakey CD's over the past few months and I can say that "Moanin'" is HIS MOST OVERRATED ALBUM!!!! Although the musicians are in tip-top shape, this is one of Blakey's more unispiring albums. Unlike "The African Beat" "Drums Around the Corner" "Africaine" - Moanin' fails to propell the creative drive of the messengers. Buy the cd's mentioned above before you stick this one in your collection. But I must admit- Miles Davis' "So What" from Kind of Blue sounds awfully familiar to the messenger's song Moanin'. Did Miles Davis rip them off???? Compare the two and you will agree.
Classic!
Reviewer: elvinman from Austin, Tx
A truly fantastic record. A personal highlight is the playing of Benny Golson, who, along with Blakey, seems to been the force-to-be-reckoned-with on this particular recording. "Drum Thunder Suite" is incredible with Blakey playing thunderous mallet rhythms, showing the power and emotion this legend played with. "Moanin'" really grooves, and it's no wonder it was a hit when this record was released. The fours between Blakey and Morgan are very tasty! Highly recommended!
"art" form in session
Reviewer: louis from houston,tx usa
bobby timmons and benny golson, two of jazz greatest writers. however , what i like most about this cd is art allows cd to come to him. plenty soul and how can you forget about lee morgan(the young lion)
moanin'
Reviewer: steve from USA
moanin' is one of the brightest moments in jazz history. bobby timmon's piano solo could not have been improved; its perfect along with the performances by wayne shorter, art himself, and the other performers.
- Jazz - Bobby Hutcherson
Dialogue 5355862
Rudy Van Gelder Edition
Editor’s info:
Today Bobby Hutcherson is one of the established giants of mainstream modern jazz. But in 1965, He was on the cutting edge of experimentation, working with Jackie McLean, Eric Dolphy, Andrew Hill and Archie Shepp. The personnel on Dialogue, his first album as a leader to be released, reads like a who's who of the creative front in jazz at the time: trumpeter Freddie Hubbarrd, reedman Sam Rivers, pianist/composer Andrew Hill, bassist Richard Davis and drummer/composer Joe Chambers.
Rudy Van Gelder's vivid recording style captures all nuances of this amazing album. Added to the original LP is Andrew Hill's "Jasper" from the session.
Produced by Alfred Lion. Recording engineer: Rudy Van Gelder. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 3, 1965. Remastered in 2001 by Rudy Van Gelder. All transfers from the analog tapes to digital were made at 24-bit resolution.
- Jazz / Pianistyka Jazzowa - Bud Powell
The Amazing Bud Powell Vol.1 5321362
Rudy Van Gelder Edition
Bud's first two Blue Note dates are here in complete form. The 1949 session features the horns of Fats Navarro and Sonny Rollins (making his recording debut) on such be-bop anthems as "Bouncing With Bud" and "Dance Of The Infidels". This 1951 trio session with Curly Russell and Max Roach introduced "Un Poco Loco" and "Parisian Thoroughfare".
- Jazz / Pianistyka Jazzowa - Bud Powell
The Amazing Bud Powell Vol.3 - Bud! 5355852
Rudy Van Gelder Edition
Blue Note's Alfred Lion had a knack for drawing the best from piano genius Bud Powell in the fifties when Bud's frame of mind and music were going through wildly erratic cycles. Bud! is the first full-length 12" LP that the bebop pioneer made for the label and it featured his working trio of Paul Chambers and Art Taylor with new trombone star Curtis Fuller added on three war-horses.
The Fuller features include an amazing version of Charlie Parker's "Moose The Mooche", but the highlights here are Powell's original "Blue Pearl" and his solo performance "Bud On Bach".
- Jazz / Pianistyka Jazzowa - Bud Powell
The Amazing Bud Powell Vol.2 5321372
Rudy Van Gelder Edition
Complete for the first time with five previously unissued tracks, this August 14, 1953 session with Bud's working trio (George Duvivier on bass and Art Taylor on drums) includes such masterpieces as "Reets And I", "Collard Greens And Black Eyed Peas" and "Glass Enclosure".
- Jazz - Bud Powell
The Scene Chages 5918972
Rudy Van Gelder Edition
- Jazz / Pianistyka Jazzowa - Bud Powell
Time Waits 5212272
Rudy Van Gelder Edition
Of Powell's three superb late '50s Blue Note albums, "Time Waits" may be the finest, thanks to the extraordinary drums of Philly Joe Jones. When Powell is in peak form as he is here, no pianist can touch him. This record also introduced several Powell jazz standards including "John's Abbey", "Monopoly", "Buster Rides Again" and the haunting melancholy title tune. Rudy Van Gelder's superb remastering brings out all the nuances of the extraordinary trio. An alternate take of "John's Abbey" has been added to the original album.
- Jazz / Mainstream Jazz - Clifford Brown
Jazz Immortal 5321422
Rudy Van Gelder’s Edition
Editor’s info
In July and August of 1954, as Clifford Brown and Max Roach were launching their quintet, the great trumpeter did this Pacific Jazz septet session featuring Zoot Sims and Russ Freeman with arrangements by Jack Montrose. He introduces three of his most enduring compositions here: "Daahoud", "Joy Spring" and "Tiny Capers". On CD for the first time is an alternate take of "Gone With The Wind" which has appeared previously only on a Pacific Jazz EP.
Sweet, Sweet Clifford
Reviewer: Reggie from Los Angeles, California
A trumpet players, trumpet player. Clifford's approach, attack, and expression is flawless. Taken away from us way to soon. Clifford made a contribution and left an eternal legacy.
Beautiful!
Reviewer: Josh Kwassman from Newington, CT
This album features some beautiful big-band-sounding arrangements of Brownie's best originals, and a few covers. His solos are excellent and the group-playing on the heads is excellent. A great album for fans of Brownie or just good jazz in general.
Clifford Brown, nuff said
Reviewer: Danny from Baltimore
Clifford Brown is an awesome trumpet player, no mattter who else is playing. Even if this CD had the worst sound quality, and featured "mary had a little lamb" and "hot cross buns" as the best songs, clifford would still sound great
Jazz Immortal
Reviewer: Jack from Phoenix, AZ USA
For those that choose to turn back the clock and listen to the masters, this is a must have. Brown is a monster. No one handles the axe like he does.
Good, not good enough
Reviewer: bob from Schenectady, New York, USA
Professionally and proficiently played. A lot of great players on this date, including Clifford Brown and Zoot Sims and Shelly Manne. But it is unadventurous and unexciting. Clifford Brown sounds eerily like Shorty Rogers, and Zoot is but a pale imitation of what he was to become. A comfortable, listenable, but not a thrilling performanceb
Beautiful
Reviewer: Viper GTS from Darmstadt, germany
Clifford Brown´s trumpet sounds really nice and beautiful. Okay, the music isn´t very modern, but it just sounds good !
- Jazz / Mainstream Jazz - Clifford Brown
Memorial Album 5321412
Rudy Van Gelder’s Edition
Editor’s info
This astonishing trumpeter was fluid, fiery and fully formed on his first two sessions in 1953. From the stunning ballad interpretation of "Easy Living" to hip modern compositions by Elmo Hope, Gigi Gryce and Quincy Jones, Brownie plays magnificently.
Perfect!!!!!!!
Reviewer: Reggie from Los Angeles, California
That describes the artistry of Clifford Brown. His mastery of his instrument and his craft is second to none. Clifford is very melodic on this LP while demonstrating some very intense improvisation with swing, and vitality.
Geweldig!
Reviewer: jazztone from Amersfoort, Holland
Wat een superplaat! Prachtige muziek!
Clifford Brown: The unchallenged king of Trumpet
Reviewer: Jon from PA
Clifford Brown is undeniable the most technically advaced trumpet player ever, without loosing an ounce of soul. These early bop compositions show a young genius at work. Clifford does acrobatics over all of the songs and proves he has earned his reputation as one of the best jazz trumpeters ever of his generation and of the century.
A-MAZING
Reviewer: dan k. from boston
tight tunes, tight personal. it's clifford brown, man. bop in its original prime. mmmmm good. amazing
- Jazz - Clifford Jordan / John Gilmore
Blowin In From Chicago 5423062
Rudy Van Gelder Edition
Jordan and Gilmore were big guns in Chicago and unknown elsewhere when they made this album with the dream team of Horace Silver, Curly Russell and Art Blakey. Jordan would become a kingpin of the New York hard bop scene and Gilmore would immerse himself in the world of Sun Ra, but these tenor masters were complete in sync for this great Blue Note session.
- Jazz / Mainstream Jazz - Dexter Gordon
Go ! 4987942
Rudy Van Gelder’s Edition
Editor’s info:
Dexter Gordon considered this his finest album and few would disagree. With the perfect rhythm section of Sonny Clark, Butch Warren and Billy Higgins, this tenor giant reinvents standards like "Three O'Clock In The Morning," "Second Balcony Jump" and "Guess I'll Hang My Tears Out To Dry" and introduces his most famous composition "Cheese Cake."
Dexter at his best
Reviewer: bluetrombone from Denver, USA
All the tunes on this album have excellent energy regardless of the tempo. The rhythm section is world class. This album needs to be among your next purchases, christmas list, wish list, whatever. Just get it. I promise you won't be sorry.
Go Dexter!
Reviewer: Tenormadness from Belgium
This is one of the all time classics. Dexter Gordon on top of his game, playing a classic set in ripping sax style a la Rollins and Trane. Butch Warren on bass is very strong and imaginative (he would go on to play with Monk) and Billy Higgins is a master of the drums (especially his characteristical cymbal sound is great). The real stunner here though is unsung piano player Sonny Clark: on the strenghth of his performances on this album alone he should be considered one of the top ten pianists of all time. Dig that funky comping!
This is it!
Reviewer: João Moreira dos Santos from Lisbon, Portugal
If you are looking for some of the best in jazz and from Dexter Gordon, this is as good as it gets. Don't miss it. www.bizarrologia.com/jazz.html
Takes 'The Cake'
Reviewer: Big D from Chicago
It is almost impossible to feel down after this album. Even when Gordon plays a slow or melancholy song, it portrays itself as happy and almost silly, but in a good way. Each song hold classic Gordon moments and he has no problem carrying the album out to its fullest. Integration of small, well known songs into jazz melodies has been a common practice, but I have heard none better than Dexter, each add in is flawless and well managed. This is by far Dexter Gordon at best!
Simply Amazing
Reviewer: FeAr tHe MeX from Washington D.C.
There is not much I can say about this album that will do it any justice. Dexter Gordon is simply amazing. His fog-horn tone is at its finest in this stunning album. I swear I got goosebumps the first time I heard Billy Higgins and Butch Warren set the samba tempo to Love for Sale, a Cole Porter classic. Cheesecake is also a can't miss track. There are few albums that make the listener feel like they are actually in the recording studio with the musicians. This album is one of them. It is flawless in every way. Don't make the mistake of missing this masterpiece.
THE BEST!!!
Reviewer: Mauro Otto from Porto Alegre - Brazil
Such wonderful songs, in special the great ballad of all time (in my opinion) - "Where are you" . You can really feel the sadness in Gordon´s saxophone... Amazing!!!
chilled saxaphone
Reviewer: Gavin from London, England
This album is filled with relaxing music. Gorgeous ballads like i guess i'll hang my tears out to dry are a good reason to just sit back close your eyes and relax to the sultry tones of Gordon's sax!
Genius
Reviewer: JHK from England
This is the CD that got me hooked on jazz and is still the one to which I listen most. A work of pure genius. It's as simple as that.
There's nothing better.
Reviewer: Cody Yantis from Dublin, Ireland
I'll never forget putting on my headphones, hitting play, and hearing the opening lines of "Cheese Cake" for the first time. I've never heard a purer or more confident saxophone tone--which strikes a deep chord within me, being a sax player myself. His hip rendition of Cole Porter's "Love for Sale" is not to be reckoned with either--one of the best "latin" pieces of the era. And let's not forget Sonny Clark's amazing perfromance throughout. "GO!" just might be my favorite Blue Note record.
This is what jazz should sound like
Reviewer: Shim Daddy from Norman, Oklahoma, USA
When I first bought this CD and heard the opening verses of "Cheese Cake", it was as if I were magically transported back in time to a dark, smoky club in New York in the 50s. Gordon's sound is just so good on this album, both on the more up-tempo numbers like "Cheese Cake", "Love for Sale", and "Three O'Clock in the Morning", but also on the slower numbers like "I'll Hang my Tears Out to Dry". Very good CD; I recommend it highly.
gorgeous!!
Reviewer: Krish from Bangalore,India
What a gorgeous record...Dex's tenor tone was incredible.Backed by a perfect rhythm section,this record is absolute bliss...and do check out the two ballads on this one..perfect for a rainy afternoon
tenor madness
Reviewer: louis from houston,tx usa
a glass of wine,candle light,and mr. gordon. what more could anyone want to make the evening complete. dexter finds a way to put in all together on the "love" cd. yet if you listen behind the smooth sound you can hear someone who knows the true meaning of jazz and how it should be played. i think we give out the word "masterpiece" to freely, however this one......
Perfect Tenorman!!!!!!!!!!!
Reviewer: Jaesoon Jung from Seoul, South Korea
The finest album of Dexter Gordon First time when I heard on this album, I got a best feeling in his tenor tone.. Best and ever album in the Blue Note all records....
Wonderful Album
Reviewer: Yu Ushizaka from US
You must listen to song No.5 Where Are You. This is one of the most beautiful music I ever heard! This album worth at lot more than $13! his music is priceless.
- Jazz / Mainstream Jazz -
Dexter Gordon
Our Man In Paris 5917222
Rudy Van Gelder’s Edition
Editor’s info:
Dexter Gordon had been a European resident for two years when he made this create session, one of the greatest of his career, which reunited him with Bud Powell and Kenny Clarke for the first time since the '40s.
You must get this one!
Reviewer: Bob Everard from Stockholm, Sweden
'Our Man In Paris' was my first Dexter Gordon album, LONG before CDs existed. I'm still amazed that Gordon, with his aggressive blowing, manages to make ballads sound so beautiful. Check out 'Stairway To The Stars' and the rapport between Dex and Bud Powell on 'Willow Weep For Me'. Then listen to 'Where Are You' from 'Go' - and you'll want that one, too.
Joe Henderson . The State Of The Tenor 2xcd
Reviewer: Ian Kleinberg from London . England
Search high & low for this double album. the trio Of Henderson/Carter/Foster is a dream 14 of the best blue note tracks ever made & all on these two cds. Hendersons smooth style flows with every piece I am trying to pick a fav cut but they are all fav's. Wow what a blindin' album
Kenny Burrell...Blue Lights
Reviewer: Ian Kleinberg from London England
This album I bought in mole jazz Kings Cross recommended by one of the staff yup one of the best recommendations I ever got both cds are proof perfection is possible if its not in your collection search it out whatever the cost all 9 tracks are gr8
Grant Green First Session
Reviewer: Ian Kleinberg from London
recorded in 1960.Though it is just as fresh today Seepin' is the track that i can listen to over & over Again. Blue Note 27548 A Masterpiece.
Town Hall Concert
Reviewer: Ian Kleinberg from London
This is a very cool album Hancock is on top form Henderson is cool as ever Hutcherson nuff said! Hubbard fires everything up Newton seems to float in & out with calm musicianship Williams is unbeatable he never fails to please & Carter lays in a solid bass line a magic magic album
Iller than a giraffe with moose bumps
Reviewer: gongo from penile, pennsylvania
What more can be said that has'nt already been said over the last 40 years about this man and this recording. It's hotter than a parisian whore with a careers worth of gonorrhea. LONG LIVE DEX!
Long Tall Dexter from 42nd & Hooper
Reviewer: Reggie from Los Angeles, California
Our Man In Paris, Dexter Calling, One Flight Up, Need I say more. Dexter's signature tone a quartertone flat. But how he swings and quotes cleches is brilliant. Classic Blue Note material, don't sleep on any of it.
Shed a tear on the Stairway to the Stars
Reviewer: Another Spencer from Nottingham UK
This is not my favourite Dexter album but it does contain my favourite Dexter track, Stairway to the Stars. I cannot imagine anybody so mean that they would not shed a tear as Dexter lays his heart on the line. Much of the rest of the record is good and A Night in Tunisia is wild fun. Trouble is so eager am I to get to Starway that I rarely sit through Apple et al before fast forwarding to Stairway. So the album loses a point for my impatience to get to a heartbreaking ballad. Who said life was fair?
A favourite
Reviewer: Peter Gällman from Boden, Sweden
Here´s another of my favourite records. Actually my favourite musician is on each instrument, except for Pierre Michelot who I´ve never heard before. But he does his job well. Now if only Fats Navarro had been alive and in Paris.
Wonderful, Melodic Jazz
Reviewer: Chris Johnson from Upstate NY, USA
This is music that gets into your soul. Sometimes dismissed as a "blowing session," this recording finds Dexter, Bud, Michelot, and Clarke exquisitely in tune with one another. Dexter's solos are deceptively simple and melodic. "Deceptively" because they continue to surprise and thrill after dozens of listens. By all accounts, this recording is a highlight of Powell's years in France. The last cut on the disc, a trio performance with Dexter sitting out, is a revelation.
A tower of power in Paris
Reviewer: René A. de Hilster from Netherlands
This is one of the great Dexter recordings. Dexter along with the three bosses (Powell, Michelot & Clarke) were intending to play a bunch of fresh Dexter compositions. Bud Powell was reluctant to do this, so they went into blowing some good oldies. The results are a real blowing session with Dexter Gordon at his top on the old bebop warhorse; a scrapple from the Apple. Bud Powell plays short biting piano solosa nd comps great. The team of Pierre Michelot and Kenny Clarke is really up to it. The steady pulse suits Dexter well. Only the sound of the recording lacks the masterhand of Rudy van Gelder but that is a only minor setback. My advice, buy this beautiful CD.
- Jazz / Mainstream Jazz - Donald Byrd
Slow Drag 5355602
Rudy Van Gelder’s Edition
Editor’s info:
Slow Drag is one of those classic sixties Blue Note albums that is ultra hip. The groove is in the pocket and the tunes and solos are challenging and intelligent. Byrd and long time partner Sonny Red are supported by the great rhythm team of Cedar Walton, Walter Booker and Billy Higgins.
The sensual slow blues Slow Drag also features Billy Higgins debut as a vocalist. Sonny Red's Jelly Roll" is another funk classic. This album introduced two jazz classics in "Book's Bossa" and "The Loner". This is the first appearance of this album on CD.
Doesn't Get Any Funkier, Than This
Reviewer: AL from Chicago
The title track "Slow Drag" is the epitomy of the Blue Note sound and is one of my all-time favorite pieces by one of my all time favorite jazz musicians, Donald Byrd. This recording is a must for every collector who loves the Blue Note recordings from the 60's & early to mid 70's. :-)
The Hottest Slow Drag
Reviewer: neeraj sharma from Watford, Hertfordshire, UK
It is a hot album, just as the album cover suggests it is. It is a must, it is fun.
Rap Before Rap Was Heard Of!!!
Reviewer: Wentworth C. Hill II "Chappy" from Los Angeles, CA (Detroit Native)
As a serious JAZZ enthusiast since the age of 12, Slow Drag came out when people were in to groups like the "Last Poets", Jimi Hendrix, Charles Lloyd, Lee Morgan, musicians who had a statement to make and needed to be heard. "Slow Drag" the album heading and title piece is a bluesy, gutsy, soulful feeling which allows Byrd, Higgins, and everyone else to make their statement. Most significantly, the late great Billy Higgins, who next to Art Blakely was the man everyone wanted on "traps!" No, I'm not one who is into rap music, but since the re-release of this album on CD, my friends and associates now know that I was not lying when I told them the first rap tune I heard was in '67-'68 by Billy Higgins. In fact the original album cover featured a picture of Billy in "ecstasy" as he is swinging his cymbals, rapping, and "playing the dozens" all at the same time! Not some "cutie pie" who doesn't have a clue! Now, Blue Note, since you're on a roll, how about a re-issue of "Street Lady" by Professor Donald Byrd?!" For more Bluenote legends and bios, check out my authorized Blue Note Website. If you have a difference of opinion, contact me!
Slow Drag CD Release
Reviewer: Carl David from Burke VA
Well its about time, this was one of my early favorites from Blue Note... the reason I'm in love with jazz today. It was Donald Byrd before the Black Byrds and encouraged me to buy his music before and even after this release like "Fancy Free". I've always liked Byrd's music and I hope there more to be released. Billy Higgins singing made this album unusual and hip at a time when I was making the switch from vocal r&b to instrumental jazz music. It was comical and bluesey and led right into the rest of the jazz on the album which was rhythmic and accessible to a new jazz listener.
- Jazz / Mainstream Jazz - Donald Byrd
A New Perspective 4990062
Rudy Van Gelder’s Edition
Editor’s info:
The idea of a jazz group and vocal chorus is an unlikely one. But what Donald Byrd and Duke Pearson accomplished in this 1963 session was more than an innovative experiment. It is music of exquisite beauty typified by the classic "Cristo Redentor." Hank Mobley, Kenny Burrell and Herbie Hancock are among the sidemen.
An album apart....
Reviewer: Chris from
One of Blue Note's best.....period!
A classic
Reviewer: jackpirat from paris france
Simply my favourite (blue note) LP.
innovative at its time
Reviewer: Anthony J Thomas from Bakersfield CA, USA
I have listened to this album since high school and I am still captivated by the music and voices. At the time, no one had successfully incorporated a choir into a jazz setting,but, Mr. Pearson and Mr. Byrd created an inspirational piece. Since then, there have been many recordings using vocalizations as intruments in a piece, Metheny and Tyner come to mind. Like one of the other reviewers, I am especially moved by "Cristo Redentor" and have heard no better rendition than the one on this album. In my minds eye, I can see the pilgrims making their way to the top of the mountain, to the feet of Christ. This is an exceptional album and a true classic.
Unforgettable
Reviewer: Steve-o from Los Angeles, CA
This album if full of joyous and haunting songs you won't easily forget. Every sideman bides his time and shines when asked to, but otherwise, this is the work of a well-mannered team. Truly, they achieve something greater than the sum of their parts.
Byrd bombs again with his "voices"
Reviewer: Richard Everett from San Marcos, Calif. San Diego County
Donald Byrd was the perfect sideman and his performances were top notch. But as a leader, he is still trying to fuse jazz with do do wah singers and the result has always been laughable. This Cd is no exception. The 1992 "Best of Donald Byrd" was the poorest jazz release for that year. If I want vocals, I will buy vocals. If I want jazz, I will buy jazz. This guagmire of blended mediocrity is just awful. What was he thinking?
A New Perspective
Reviewer: Marcus Martins from Fortaleza-Ce-Brasil
Simplesmente divino!!!grandes solos de Byrd, Burrel e Hank e o maravilhoso arranjo de Duke...Vale a pena!!!
For the open - minded only...
Reviewer: Nicodemus from New Zealand
The impetus for purchasing this album was the inclusion of Herbie Hancock and "voices". However, it's much more than that. Byrd helms a disciplined team here, who take their respective talents to new depth. Particular stand-outs include "Beast of Burden", for it's slow burn approach and execution; and "Chant" which had me hoping for 3 more minutes on it's 7:31 length. Of course, the Christian slant on ALL of the material is something new to my Jazz knowledge, and as a believer...a shot in the arm. Needless to say, I'll be checking this cat's catalouge a lot more seriously!
CRISTO REDENTOR
Reviewer: NARVELAN COLEMAN from INGLEWOOD, CALIFORNIA, USA
THIS IS MY ABSOLUTE FAVORITE! AS A CHRISTIAN AND BORN AGAIN BELIEVER IN THE DEATH AND RESURRECTION OF JESUS CHRIST, THIS TRACK STRIKES SOMETHING VERY MOVING WITHIN MY SPIRIT.WHEN I PLAY IT, I HAVE TO PLAY IT AT LEAST A DOZEN TIMES BEFORE I CAN TURN IT OFF! THIS PARTICULAR SONG AND THE WAY IT IS EXECUTED EXEMPLIFIES HOW REAL FAITH AND A PERSONAL RELATIONSHIP WITH JESUS CHRIST CAN CHANGE YOUR LIFE. THIS IS A TRUE MASTERPIECE!!
A new perspective indeed....
Reviewer: John Knapik from Pittsburgh, PA
This isn't the funky blaxploitation of "Street Lady" or the straight jazz of Byrd's earlier releases. This is an effective mix of vocal and jazz that only Byrd and Pearson could pull off. It doesn't sound like one style laid atop another, it meshes very well. Plus, there is just something about Cristo Redentor that gives me chills down my spine.
go for it
Reviewer: giomm from France
wicked !!!!!!!!!!!
a peak
Reviewer: Chad from Toledo, Ohio
Donald Byrd has a great hard bop player, and this is no exception. It is however, a departure. The addition of a chorus gives it a unique, gospel/soul flavor. Highly reccomended. Some of his deleted titles should be brought back.
- Jazz / Mainstream Jazz - Donald Byrd
Byrd In Hand 5423052
Rudy Van Gelder’s Edition
some nice stuff
Reviewer: Tom from Virginia Beach from X NEW YORKER- NOW IN VA. BEACH VA.
Donald Byrd, and Pepper Adams were a great team, not just on this album, but especially their Live at the Blue Note dates. Byrd reminds me of Clifford Brown, and Pepper Adams had the ability to play the Baritone Sax fast, like an alto. I have always been amazed at Mr. Adam's technique and ideas.
Frankly disapointing
Reviewer: Chaz from Cambridge, England
I thouroughly enjoy Donald Byrds music, but I'm afraid I feel that this album lacks something. Great tunes, but not his best unfortuantly.
damn good album
Reviewer: Ricky Moore from
The music moves throughout. The solos create great tension and have their moments of great beauty, in which the emotive goal of the players can be felt greatly. Also, the choruses are very solid and effective in bringing along the music and balancing it. An all around strong album.
blown away
Reviewer: Sal from Chicago
I just picked this up today. Being somewhat of a new jazz fan (about 3 years now), I own several albums with Donald Byrd as a sideman, but this is the first one I have picked up with him as a leader. I just got home, listened to it from start to finish, and I must say that I am extremely impressed. It seems that everyone is in top form on this album, especially Byrd and Pepper Adams. The rhythm section swings extremely hard, and the solos from the front line are all inspired. I haven't been this satisfied with a purchase in quite some time. Thank you Rudy and the rest of Blue Note, for bringing Byrd in Hand, and the rest of the great RVG series, to a new generation of jazz lovers!
- Jazz - Eric Dolphy
Out Of Lunch 4987932
Rudy Van Gelder’s Edition
Editor's Info:
With four of the brightest innovative talents in New York (Freddie Hubbard, Bobby Hutcherson, Richard Davis and Tony Williams) and five startling, diverse originals, Eric Dolphy made the greatest and most adventurous album of his career for Blue Note. Unfortunately, it would be his last studio recording. He died in Germany four months later at the age of 36.
- Jazz / Mainstream Jazz - Freddie Hubbard
Hub Cap 5423022
Rudy Van Gelder Edition
Editor’s info:
Freddie Hubbard arrived in New York in 1960 and set the jazz scene on its ear with a gorgeous tone, perfect technique and great ideas. This was his third album in less than a year and it yielded several masterpieces including the title tune and a powerful reading of Randy Weston’s “Cry Me Not”.
A Definitive Hardbop Session
Reviewer: Leeman from Port Angeles Washington.
This is Hubbards first sextet album and a very good one. The arrangments are more complex than his last and his usage of the other two horns completes the settings. The title track is a pressure cooker and that is Hubbards specialty. "Cry Me Note" must be the best ballad, after Monks "Ruby my Dear". People like Miles or Rollins usually stuck being the main voice on ballads, here Freddie uses all horns and gets incredible results. "Ready for Freddie" is another great sextet album, much better players and arrangments. "Osie Mae" has a catchy line and a good groove. At first, a lot of it will just seem like minor keyed hardbop but after a while it gets better. Not as good as his previous albums like "Open Sesame", but still a great session. Five big Ovals for the monster trumpeter Freddie Hubbard. Note: anything with Philly Joe on it is good.
GREAT BLUE NOTE ALBUM OF FREDDIE HUBBARD
Reviewer: T.A. from Chiba,Japan
This disc is Freddie's best album of I think, but very underrated album. All tunes are very cool & groovy!! Now listen,all jazz fans.
High Quality Hard Bop
Reviewer: Paulo Barbosa from Funchal, Portugal
Not as daring as his best Blue Notes, but a most welcome reissue. No serious jazz fan should be without at least some of Hubbard's work on Blue Note, such as his masterpieces "Hub-Tones" and "Breaking Point". "Ready For Freddie" and "Open Sesame" make for better hard bop than this one, but it will do no harm in anyone's collection. It is always a pleasure to have more of Hubbard's '60's marvelous trumpet playing .
- Jazz / Mainstream Jazz - Freddie Hubbard
Hub Tones 4990082
Rudy Van Gelder Edition
Editor’s info:
Already the most formidable new trumpeter in jazz in 1962, Freddie Hubbard came into his own as a composer with this album with great originals that range from the complex, ferocious swinger "Hub-Tones" to his poignant "Lament For Booker," written for the late Booker Little. James Spaulding, Herbie Hancock, Reggie Workman and Clifford Jarvis are all at their peak, bringing the brilliant music to life with artistry and feeling.
HOW COME THIS ALBUM IS NOT ON THE RVG PAGE ?
Reviewer: JEAN-JACQUES ROSSATTI from BRAZIL
1 note for the people who program this site, 3 for the people who run (or should I say 'ruin') the reissue department of BN, and 5 for HUBBARD, always.
A nice middle-of-the-road entry for Hubbard
Reviewer: Richard Everett from San Marcos, Calif. San Diego County
Hub Tones lacks the creative excitement of "Open Sesame" and it lacks the subtle perfection of "First Light" on CTI, but it does provide the listener an opportunity to hear a more relaxed and structured side of Hubbard, which effectively filled in the gaps for me. I liked "Hub Caps" and "Goin' Up", but this CD is even better. There have been some wonderful trumpet players, but Hubbard was always my favorite. He was the only trumpet player I could not catagorize and "label" because his was too versitile and too open minded about jazz music. His work on CTI was wonderful, as was his work on Blue note, although he sounds quite different on each label. This music was cut when he was in his prime. It's good stuff. If you have "First Light", "Open Sesame" and "Hub Tones", you have a good representation of his best work. I know many people think "Red Clay" was his definative LP. You are intitled to your opinion. "Straight Life" and "Red Clay" feature a lot of squeeling trumpet, if that is your bag. If You are a fan, you will want to check out Freddies better work on Herbie Hancock's "Maiden Voyage", Hank Mobley's "Roll Call" and Jackie McLean's "Bluesnik". All of them superb. Hub Tones is an important entry in the Hubbard discography. It completes the collection. "The best of Freddie Hubbard" releases by CTI and Blue Note, are also very highly recommended. Five notes each.
So Heartfelt the Feelings of 'Lament for Booker'
Reviewer: neeraj SHARMA from Watford, Hertfordshire, UK
Lament for Booker is such a melancholic tune. Booket Little lives on in our hearts just as Freddie does. What a homage. It is delightful. You're My Everything is so dynamite that it can never come of the deck without having played it a dozen odd times and I still need to play it and practice it. Hub-Tones-is a killer. Much obliged to you for your music. All the best Freddie.
Quintessential Hub-Art
Reviewer: Martyn van Halm from Amsterdam Freak City, The Netherlands.
In the vast array of music by trumpetter Freddy Hubbard, this album stands out as a stellar performance. Diversity and virtuosity from all members, but especially Hubbard and Spaulding. The three alternate takes are not only excellent by themselves, but also provide insight in the struggle towards perfection.
Impressive
Reviewer: Kevin from Miami, Fl
This Hubbard effort is very well done. Spaulding's flute is wonderful, and the rhythm section is on point. If you don't have any of Hubbard's recording's, check this one out.
hubbards A game
Reviewer: russell seilhamer from royal palm beach florida usa
I dont like alot of hard bop because it seems the musicians are trying more to impress each other with their skill and complexity instead of connecting with their audience. This disc had a very cool and steady rhythm to back up Hubbard, the emphasis being simplicity, one that took jazz out of the clubs and took it back to the streets and a man Herbie Hancock who took it back to its roots.
- Jazz - Freddie Hubbard
Open Sesame 4953412
Rudy Van Gelder Edition
Editor’s info:
Freddie Hubbard's recording debut announced the arrival of an extraordinary trumpeter, both technically and artistically. This album teamed him with tenor saxophonist/composer Tina Brooks (they would reconvene a week later to record Brooks' "True Blue") and pianist McCoy Tyner a few months before he joined John Coltrane's quintet.
This is one of those stunning Blue Note records where the musicians mesh and the tunes, arrangements and solo get as close to perfection as one can. Alternate takes of both Tina Brooks tunes are added to the original album.
Produced by Alfred Lion. Recording engineer: Rudy Van Gelder. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on June 19, 1960. Remastered in 2001 by Rudy Van Gelder. All transfers from the analog tapes to digital were made at 24-bit resolution.
there"s not only Miles Davis
Reviewer: Tobee from Germany
I think, Hubbard really has a routine on this record, that otherwise you would never guess, that this is his first debut as a leader. Sometimes I do miss the soft touch of the trumpet-sound, which was kind of a trademark for Miles Davis. On the other hand I really appreciate the harder touch of Hubbard"s bop-style. Somehow there really happens to be an oriental mood on some tracks, like "Gypsy Blue" and it swings definitely, too. I"d think this is a good record for a jazz-newbie who wants to explore other trumpeters, than Miles. Ans I really like the soft-touched, but driving piano-playing by McCoy Tyner.
Abracadabra!
Reviewer: Brian Chahley from Toronto, Canada
I was recently listening to Freddie's 1982 live recording, "Above and Beyond" with Billy Childs, Herbie Lewis, and Louis Hayes. As I listened to Freddie rip, shake, trill, and blast violently through the tunes on the disc (which weigh in at almost twenty minutes a piece - heavyweight listening material), I began to long for his humble beginnings. Open Sesame was Freddie's first album as a leader, and it shows him during a crucial moment in his development. Arban and Clarke are the two most common trumpet excercises, and they were Freddie's favourites as a youngster. On this record, you can hear the benefits of his year of legitamite study at the Jordan Conservatory in Indianapolis, and his two years of woodshedding Arban and Clarke excercises in NYC while working up the nerve to ride the Subway. His sound is round, ringing, and he basically has his shit together for one of the first times on record. For a contrast, check out Wes Montgomery's "Fingerpickin", Freddie's first appearance on record in 1957. The shit has most definitely come together. I need not describe each tune and solo a la Leonard Feather: "Freddie takes a daring solo followed by a restrained statement from Tina, who hands it off to McCoy before they trade 8's and take the head out." Jazz for the deaf! Anyways, fans of trumpet definitely want to get this album not for the acrobatics and stratospheric playing often found in Hub's later releases, but for the beautiful sound of his horn, especially on "But Beautiful". I also reccommend "Above and Beyond", but just make sure you're sitting down when you listen to it.
Juke Box Dynamite
Reviewer: Wayne Dawson from Melbourne, Australia.
Freddie and Tina should have had smash hits when this was released. A formidable debut with two classic Brooks originals. 'Gypsy Blue' is a stunner, it's execution beyond reproach. 'But Beautiful' a ballad of sustained control over long held notes with tasteful vibrato. 'All Or Nothing At All' runs red hot. Whenever they come together on the head, the music becomes incandescent. Brooks' searing, parched cries and Hubbard's brassy, pin point laser tone are an unforgettable adventure. Thanks for letting this back out there in such great condition Rudy you gem!
Maravilloso
Reviewer: Benja from Eibar, Spain
Creo que es el mejor disco que he escuchado de Blue Note hasta la fecha. No es necesario ser un erudito supremo del jazz para darse cuenta de lo que hay aquí. Tina Brooks se sale, y apenas una semana después grabaría "True Blue" una desconocida joya. Mi canción favorita, "Gypsy blue", aunque el disco es estupendo de principio a fin. El sonido, impresionante, me da la risa cuando escucho los discos que se graban hoy en día. Una pasada.
Excellent
Reviewer: Dt from US
Excellent early date as a leader for Freddie hubbard!
Beyond the beyond
Reviewer: Ariel Calabria from Port Angeles Washington
Words do not explain feelings. When I put this on, I thought it was great. By the third time I listened to it I was baffled. "All or nothing at all" Is one of the best recorded tracks in hardbop history. "Open Sesame" is almost as good as "All or Nothing at All". Do not get any other cd before you get this one. Tina Brooks and Freddie Hubbard were made to play together as were Lee Morgan and Wayne Shorter. Nothing can satisfy you more than listening to this session. It deserves at least ten notes, this is the best thing that Rudy Van Gelder ever produced.
Better than the best of Freddie Hubbard!!!
Reviewer: Doopsie from Ft. Lauderdale, Fl.
I bought "The best of Freddie Hubbard - The Blue Note years" because I wanted to be sure I had a good recording of him. A friend of mine listened to it, and he said he had a copy of "Open Sesame" which he felt was much better than my "Best of" CD. I listened to it and it blew my mind completely away. I knew the title track of "Open Sesame" was the best cut on my "Best of" Cd, but I had no idea the rest of it was just as good. I went out and bought it and I play it all the time. I believe the previous reviewer is right, and this may be the best music ever recorded by Blue Note. 5 notes. Grab it.
My favorite players on the same CD *Awesome*
Reviewer: jazzman from San Marcos, Calif. San Diego County
Freddie, Tyner, and Tina. Unbelievable. This is a wonderful CD and my very favorite Blue Note CD, and I have lots of them. Hank Mobley's "Roll Call" is superb, and Sonny Clark's "Cool Struttin'" is beyond fantastic, but this thing knocks me to the ground. It is so filthy, I have to listen to it from another room. Freddie Hubbard was never better than this in his life. Never. Tina was never better than this. Never. Tyner is an institution and he has never been better than this. Never. The fantastic rhythm section is flawless. Forget the jaded reviews, and really listen to this and get dirty. This is the motherf**ker you have been looking for. 5 chalupas.
Pure sound
Reviewer: Alexandre Bouquet from Toulouse, France
A remarkable sound for the young Freddie Hubbard. Very good sidemen with Tina Brooks, also as a brillant composer. A trumpet eden.
Beautiful!
Reviewer: Kotaro Nagai from Japan
This is one of favorite Blue Note recordings. I like Tina Brooks who wrote title number "open sesame". And Freddie Hubbard plays so excellent blowing trumpet. It is the true Blue Note Sound. And This is a popular record in a lot of Japanese Jazz Fan.
You are the TRUTH MAN! OOOOH WEEEE !!!
Reviewer: Doug Pierce from Battle Creek, MI USA
I believe this was your first album for Blue Note and all the way through it we as listeners can hear what is to be expected on the later albums. On Hub's Nub you played so much stuff I started crying the first time I heard your solo on that tune because the lines in your solo were sooooooo slick and melodic. No matter the negative comments people may make about you, just remember noone was the man on trumpet longer than this man was and still is in my book. You are a big inspiration to me may God bless you and watch over you Brotha. Love you man.
R.V.G. MEANS REALLY VERY GOOD!!!!!!!!!!!!!!!
Reviewer: OILERS619 from BRONX,NEW YORK,USA
OPEN SESAME IS TRULY ONE OF FREDDIE'S BEST THAT I EVER HEARD,ESPECIALLY THE TRACK "BUT BEAUTIFUL". FREDDIE JUST SIMPLY IS THE BEST SOUNDING TRUMPET PLAYER I HAVE EVER HEARD.(SORRY MILES).
Hubba Hubba!
Reviewer: Michael McKeldon from Providence, RI
After listening to this CD I was embarrassed recalling what I was doing at the age of 22. Freddie Hubbard was creating great art (this album is Exhibit A) and I was still trying to figure out what great art is. This is transcendant, no-nonsense, straight ahead jazz, played by a group of young lions. And the unique cover of "One Mint Julep" shows that they did not take themselves too seriously. If it were not for Nicholas Payton, I'd be forced to admit that they don't make records like this anymore. Oh, by the way, Webster's dictionary should have a picture of Tina Brooks next to the word "underappreciated."
The greatest trumpet in the world!
Reviewer: Dario Di Blasio from Rome, Italy
My dearest friend, Freddie. I've always been dreaming to have the chance of meeting You, one day. My dream came true in 1990, at Pescara Jazz Festival. I listened to your unforgettable solos very carefully and I'll never forget that great emotion. I've also got some shots beside You and your divine Trumpet. This album, as well, is another tremendous experience. It is truly a masterpiece, as much as any Your performance. Freddie, hope you are doing well now and hope to meet You again sometime soon. Take care, dear, and God bless You and Your family! Bye! Dario DiBlasio
The Door Opener For Trumpeters Around The World
Reviewer: neeraj sharma from Watford, Hertfordshire, UK
This Album is a tremendous achievement. It is truly a masterpiece. As Ira Gitler implies, it is a door opener. Freddie's Trumpet playing is his "open sesame". Many years back I had the fortune of receiving a practice lesson from him, that too opened a door for me, just like this album does. It is wonderfully exciting. Look out for All or Nothing At All, Gypsy Blue and But Beautiful. WOW! Listen, Enjoy and Learn and thank Freddie. Buy it, and thank RVG, Blue Note for re-releasing with the additional alternate takes. Freddie hope you are well and hope to meet you again sometime soon and I do practice to this album with great enthusiasm to this day, take care, bye.
- Jazz / Mainstream Jazz -
Grant Green
Idle Moments 4990032
Rudy Van Gelder Edition
Editor’s info:
Time is suspended on these four haunting, extended tunes by this brilliant guitarist with the aid of an all-star cast. Unique in Green's discography for its relaxed, lengthy performances and almost dream-like lyricism, this Blue Note classic could well be called "Ballads for the Ages."
Individualism and the Creative Whole
Reviewer: Wayne Dawson. from Melbourne, Australia.
For those of us that thought the seventies was laid back, these cats are even further back. The title track, 'Idle Moments' is a three in the morning masterpeice, its pulse full of poise. The tasteful selection and sequence of instrumentation, particularly in the hands of such soloists, adds distinction to the texture, each demonstrating the utmost restraint, mindful not to tear the fabric of the whole. Of course this is just professionalism, but professionalism doesn't always give you that feel. 'Jean De Fleur', 'Django', and 'Nomad' are also good tracks, different in their way, but none have the evocative power of 'Idle Moments'. Thanks to the cat with all the cream, Rudy you gem!
Better than Kind of Blue
Reviewer: Another Spencer from Nottingham, UK
Why is it that every man and his dog has a copy of Kind of Blue and yet only jazz afficionados have heard of Idle Moments? Whilst I get the impression that the reviews of other RVG albums on this site are a little too generous this really is five star masterpiece. Yes Grant Green was a limited player compared to (for example) Wes Montgomery but I dont think Montgomery ever made a record as good as this. Credit to Duke Pearson for the arrangements and to all concerned for the fantastic solos. Hard to pick a favourite track but lets go for the title tune. Play this to calm you down and Free for All to rev you up. I am off to write a review of Art Blakey's masterpiece now.
mood music
Reviewer: Luka Clarke from Lisbon, Portugal
Quite nice album, especially for putting on at night while doing something else... It drifts by. Meaty soloing by Joe H makes you sit up a bit. I couldn't help noticing that Green makes a couple of quite obvious errors in the first couple of bars of the first track. But obviously a lot of people love it...
Excellent Grant Green, incredible Joe Henderson.
Reviewer: Leeman from Port Angeles, Washington.
this a relaxed album, not mellow, relaxed and it just keeps getting better. The title track is too good, everything else is great, but the title track is just too cool for words. I must say Green is not the best guitarist, and if you look at his hand position on the cover, it's terrible me being a guitarist too. He used a lot of the same licks over and over again, but his licks are very tasty and his tone is exeptionally good too. It was funny that "Mark Paskind" mentioned the typo thing, where Bob Blumenthal really screwed up is when he said that "Dialogue" was Bobby Hutchersons first album as a leader. Even funnier is that Hutchersons actual first album as a leader "The Kicker", which bob didn't mention, had the exact same ensemble as this album. Humans make mistakes. Anyway this is a great album and the tunes are excellent ESP "Django". The way Cranshaw and Harewood fit right in together makes the album great, good rhythmn sections are ncessesary. As reviewer "Jazzman" says a lot, 5 very Big Chalupas.
the first track
Reviewer: Feodor from Moscow, Russia
You should go to the store NOW, buy this album, put it in your cd player, and listen the first track for maybe 5-7 times. It's simply one of the best records ever done no matter in what kind of music... Sometimes there's a moment of something unexplainable in life. This track (Idle Moments) is about it. How comes that people can make magic...
lush greenery
Reviewer: mike from B.C,Canada
this is a beautiful soulful record with a very relaxed tempo. Bobby Hutcherson's vibes put very subtle overtones into the music,as do joe hendersons lush languid tones on the tenor.This is probably Grant Greens finest work as a soloist and in a goup setting. Immortality?
Excellent jazz guitar record
Reviewer: Shako 73 from Montreal, Quebec, Canada
Grant Green is excellent. The personal is excellent. All the songs are excellent. This record is excellent. Mine too has "Booby" instead of "Bobby Hutcherson", this is excellent for collectors... So it's an excellent buy ! 5 stars not for nothing !
Great Record w/ funny typo
Reviewer: Mark Paskind from Sherman Oaks, USA
This is just a fanstastic record, through and through. Hey, did anyone else notice that on the inside liner notes, Bobby Hutcherson is listed as "Booby" Hutcherson? Am I the only one w/ this typo? Kinda funny...in a sophmoric way.
The importance of linear notes
Reviewer: Giovanni from Bergamo, Italy
I know I state the obvious but...how interesting are the original linear notes. Duke Pearson's description of the title track's origin manages to add value to its beauty. Which is quite an accomplishment. This song is one of those moments of artistic enlightment which can bring joy and, sometimes, relief to our lives.
Another Grant Green Masterpiece - 5 Notes
Reviewer: Richard Everett from San Marcos, Calif. San Diego County
I was once asked, if had to choose only 5 pieces of jazz music with me to listen to, for the rest of my life, which 5 tunes would I take with me? Grant Green's "Idle Moments" sprung into my head in a flash, and then I had to think about it. Freddie Hubbard's "First Light" certainly, Johnny Hammond Smith's amazing performance of "Rock Steady" came to mind and also Jimmy Smith's "The Sermon", although "Back at the Chicken Shack" would also have worked. I needed one more tune I would never get tired of. I decided to go with Art Farmer's "Fairytale countryside" which always makes me smile, from his perfect "Blame it on my Youth" CD. I didn't pick a Coltrane tune or Monk tune, because I have heard their stuff too many times and that was the only reason. This CD contains "Idle Moments" and that makes it good for 5 notes. Who cares what else is on it? This is just another Grant Green Masterpiece. "Grantstand" is another one.
Great
Reviewer: max from Russia
Great, warm, bluesy...
exquisite
Reviewer: Daniel Jacome. from new york, ny
Recently, a friend of mine suggested that Henderson's playing is in top form on this record. I had to find out for myself, and I have to concur. Henderson's solo on Nomad--which, on a personal aside, for me embodies a Joycean epiphany or what Proust called a "priveleged moment"-- further illustrates his singular puissance as a tenor player. As for Green's playing, I feel my understatements here would insult his genius, so I will let listeners discover him on thier own. Highly recommended.
Heard it in my sleep
Reviewer: Robert from Oklahoma City, OK.
I was listening to Bob Palocha one night and fell asleep. About 3 a.m., I'm not joking, "Nomad" came on while I was sleep. I heard it just as clear as if I were playing it right now. I had to wake myself up to hear this. I just laid there in the bed motionless, not beliving what I was hearing. Man, I was blown away by that song at 3 a.m. and could not stop thinking about it at work later that day. I had to order it and the day "Idle Moments" arrived at the store, I thought I was going to have anxiety attack before I could get home to play it. This is some deep jazz. Love the liner notes also.
A Favorite
Reviewer: LD from Denver
This LP somehow didn't make it back to the library after I checked it out some years ago - hey, I "lost it". My favorite Grant Green album - Bobby Hutcherson kills it. Jean De Fleur is my favorite on here, but all cuts are solid. Pick this up ... or jack your public library for it.
Grant Green: Idle Moments
Reviewer: Jeff from Shelby Twp. MI USA
If you could have only one Grant Green CD (I shudder at the thought) then this may have to be the one. Green, Henderson, and Hutcherson shine throughout. Also, as is the case with most Blue Note recordings the sound quality is top notch.
searchin' for soul
Reviewer: Spencer from University of Oregon
Grant Green's low-key masterpiece, this album is a lesson in relaxation and good taste. I listen to this album so much, I'll probably need a new one soon. The all-star cast brings a relatively unheard of pianist, Duke Pearson, to the light. Duke's beautiful touch, compositions and style shine, and from the first measure of "Idle Moments" the listener is fully immersed in the soul. The title track remains one of my favorite compostions, a yearning, dreamlike melody followed by masterful solos from all. Grant is in top form, playing his soulful, bop influenced lines. Joe Henderson is always a nice addition to any setting and bobby hutcherson as usual is brilliant. Relax, and listen, to Idle Moments.
Magnificent
Reviewer: Hugh Jeram-Croft from Sasenheim, Holland
This album is amongst the best jazz I've ever heard. Grant Green is my favourite jazz musician without doubt.
so blue
Reviewer: tim charles from italy
From the opening bars of the title track you sense you're about to experience something very special...A real after hours session, worth it for the title track alone, which is slightly reminiscent of "Blues in Maude's Flat" from the "Granstand" session. The late Joe Henderson's playing on the title track is outstanding, I don't recall him in such a mellow mood before... The whole CD is uniformly excellent, and the bonus tracks are considerably different, extended versions. You won't regret getting this...
Who Am I?
Reviewer: The Dolphin from Virginia
Who am I to be rating and reviewing an album by one of the greats? I guess I'll just say that this album changed the way I listen to music. I recommend it to anyone that wants to know what it means to play (or listen to someone play) with feeling.
Duke's Day
Reviewer: Paul Maginley from Toledo, Ohio
This is a true jazz masterpiece with all players in top form. My particular favorite is "Nomad," which swings like crazy, and shows the tight influence of Duke Pearson on the rhythm section. This album is really Duke's: he wrote many of the songs and he adds this sense of discipline to the proceedings. One gets the feeling that Green knew that he had to play with more control than usual. He carries his share of course. All the artists played beutifully. A must buy for sure.
Grant's Masterpiece
Reviewer: Jim Moran,guitarist from West Islip,NY,USA
The opening selection Idle Moments made me realize how beautiful jazz music can be. The first time I heard that piece I was sold on jazz. Django is another favorite of mine.
Master piece of Jazz !
Reviewer: Francois Trahan from Fermont, Nouveau-Quebec, Canada
Idle Moments has been my companion for 25 years and still is today. I bought the original record from a department store's clearance sale for 99 cents! This is the best deal of my life! Idle Moments IS Jazz, period.
'the best of the best"
Reviewer: louis from hou,tx usa
smooth,relaxing,mood swing,tasteful,classic, whatever adective you use this cd is "timeless" without question grant green, best work!!
A Pure Joy
Reviewer: Sanjit Sil from London, England
Idle Moments will go down in Jazzdom as one of those rare albums to touch the very heart of music lovers. Grant Green is just superb on this outing as too is Joe Henderson and Bobby Hutcherson. My favourite track is Django. But this does not in anyway lessen the impact of the other tunes.
RVG+Grant Green/Idle Moments=5 Stars
Reviewer: Allen from Santa Clara, CA USA
I have three words for this album-Smooth, Cool and Classic. Grab a Cigar, a drink, dim the lights and enjoy.
binky's review
Reviewer: Binky from Oklahoma City, Ok
One of the best jazz albums amongst my collection which includes Miles Davis "kinda Blue", John Coletrane "Giant Steps", to Kenny Burrell "Midnight Blue"
I Agree
Reviewer: Andy Dennis from Bethel, Maine
Maybe my favorite jazz album of all time. The only thing I'll add is that Bobby Hutcherson invokes a mood so relaxed and beautiful that the records just oozes out, like long, cool puff of smoke...check it out.
Blue Green
Reviewer: Jason from Columbus, OH
This is Grant Green's masterpiece! Listen to how he doesn't rush things-but instead, stays in the groove and picks his spots throughout. The most impressive thing to me about this disc is the overall mood. It transports you to another place-one filled with after-hours, smoky introspection. You think I am making this up? Just listen to the title track. Not only is Grant Green in top form, but Joe Henderson does more than just show up for this date. I have never heard him play with such a relaxed and fluid tone as he does on "Idle Moments". No matter how many repeated listenings, it still takes me to that place that good music should. A must for any jazz collection.
- Jazz / Mainstream Jazz - Grant Green
Green Street 5400322
Rudy Van Gelder Edition
Editor’s info:
Green Street, recorded on April 1, 1961, was Grant Green's second Blue Note album as a leader and remains one of the finest albums of his prolific Blue Note output.
Supported by just Ben Tucker's bass and Dave Bailey's drums, the guitarist seems inspired by the absence of any other chordal instrument. His harmonic and interpretive imagination is in high gear on this unique masterpiece in his discography. Added to the original album are two alternate takes.
it makes the leaves of a tree look green in winter
Reviewer: paul g. from antwerp, belgium
even when it's winter, the trees feel like they carry young spring leaves when listening to this 'blue' note.
green with envy, idle moments
Reviewer: Dave Mackinnon from Vancouver Canada
i discovered grant green by mistake on an internet radio station. I had typed in another guitar player and lo and behold, the station played a few selections from grant green instead. Coming from a blues background as a guitar player i find grant green to be one of the most soulful players i have ever heard. His sound is quite unique, and despite comments which from soem in teh jazz community that may portray him as a lazy player, i truly feel that grant green really went for every note he played. quite simply, there was magic in his fingertips. I foudn a picture of him on a website, with grant playing a stratocaster. i think i will ut my tele down and try out soem jazz licks on what is probably considered the most unconventional jazz guitar out there. THANK YOU GRANT GREEN!
Green with Envy
Reviewer: jazzguitarman16933 from PA
Grant Green is always like Grant Green, there is no other. Many other guitar players especially these days sound the same. Grant Green was one of those guys that from the first note you knew who it was (if you knew his playing). A very unique tone and sound in general. This album is definently groove hard bop all the way. 60's soul jazz. Kenny Burrell also comes to mind. And these guys are very accesible to blues players getting into jazz because their language isn't always as advanced, though there are times where Grant puts some nice harmonic subs in his lines. A good record from front to back. The only thing is, if your used to Wes M. or more modern players like Pat Martino, you might not like Green. His playing doesn't always smoke like modern players, but it's in the groove and very musical.
Blue for Green
Reviewer: Leeman from Port Angeles Washington (state)
Groovy Funk, you name it. Grant Green did tend to be a little lazy, but his lines are so funky they make you really listen. All the tunes Grant wrote for the set were simple and had good soling bases. Tucker and Bailey are two good sidemen who don't over play, Bailey theough is a little too quiet. For instance if Blakey had been the drummer, Grant might have been more enthusiastic about playing but I can't really say what he was doing, for all I know he might have been on crack or something. Green always played better on other musicians albums. Four notes is what it deserves.
If you like Green,walk on the green street!
Reviewer: Side from Reggio Emilia,Italy
This album is f***in'dope!Grant is great,the rhytm sections do their work.....what i have to say?A must have for all jazz listeners!
Grant Green is outstanding as sideman or as lead
Reviewer: Lester from Bowie, Maryland - USA
I've just discovered Grant Green about 2 years ago and it's been a real smooth ride. Although he has done a lot of work as a sideman with many of the top musicians, he is a equally appreciated as the lead on his own CDs. So far no dissapoints with any of his work I've heard.
If You Don't Have It Get With It
Reviewer: Jazzman Sterling from Baltimore,Maryland
Groove, Groove , Groove , and Move.
- Jazz / Mainstream Jazz - Grant Green
Am I Blue 5355642
Rudy Van Gelder Edition
Editor’s info:
The Rudy Van Gelder Series consists of classic Blue Note albums that have been newly remastered in 24-bit by original engineer Rudy Van Gelder with state of the art equipment.
This great guitarist recorded in a variety of settings and concepts during his years at Blue Note. Am I Blue featured the perennial trio of Green, organist John Patton and drummer Ben Dixon with the trumpet of Johnny Coles and the tenor saxophone of newcomer Joe Henderson.
What makes this album so unusual in Green's canon is that the entire album is in a soulful, atmospheric ballad groove. The material ranges from the blues ballad "Sweet Slumber" to the country song "Take These Chains From My Heart", but the after hours mood that these men create is never broken. This is the first appearance of this album on CD.
Self Representation
Reviewer: J-Money (NP) from US
You people are all dicks that think this music isn't good. This is self representation mother fuckers. Anyone saying that is sucks should walk their ass into a bus right now. You people criticize this shit like you could do better or something. This music is from the soul and heart, so fuck all of you fake ass critics.
The Salvation Army plays old standards
Reviewer: Jazzman from San Marcos, Calif. San Diego County
You guys know me and I give fair and honest reviews. The previous reviewer has been smoking crack. This is like taking The Salvation Army band into the recording studio, only worse. This is a waste of plastic and paper. I really like Grant Green but this is even worse than that god-awful "Talkin' About" mess he made. I think Grant Green should have stopped while he was ahead. "Idle Moments" and "Grantstand" are his masterpieces. RVG doesn't mean a thing anymore. RIP
Ease up there
Reviewer: Joe from Victoria
I think some of you are being a bit hard on this record. It may not be the next Birth of the Cool, but it is a well crafted little gem in its own right: the kind of album that needs time to grow on you. A few weeks after I bought it I was walking down the street humming "Take These Chains From My Heart" and I thought "wow, that is a realy tight tune". It may not be a technicaly superb performace, but as an exercise in taste, restraint, and plain old coolness it deffinately earned its place at the top of my CD stack.
Not One of Grant Greens best.
Reviewer: Tony Winogrocki from San Francisco
Talkin' About, Street of Dreams, Matador and several other Grant Green recordings besides the many others on blue note that he played on should have been released on the RVG series before this one which I think he would have agreed wasn't one of his best. I hope to see more out soon since many of them are already available as RVG Japanese imports.
One Of His Best
Reviewer: Michael Davis from Syracuse, New York, USA
A beautiful album.Great mood,great playing and great selection of material. Along with MATADOR,this is my favorite Grant Green recording. One of his best.
Another Beautiful Grant Green Peace
Reviewer: JazzmangrooveSterling. from Baltimore, Maryland
All and Everything is Beautiful by Grant Green just a cookin guitarist along with Johhny Coles ,Joe Henderson ,John Patton,Ben dixon what more could you expect from one of the original laid back funk jazz guitar players of all time. This one is for the jazzmode after hours.
Sweet Slumming
Reviewer: Michael McKeldon from Providence, RI
Grant Green's style was similar to Stanley Turrentine's in that no matter the context his sound seemed to fit. He melded with the aggressive straight ahead rhythm sections on "Solid" and "Matador," and he's right at home on this late night blues session. It's not among Grant's more artistically compelling recordings, but he's not coasting the way he did on some of those 1969 - 1972 sessions. It's a group of top notch musicians going for a late night ambiance, and they nail it. If you're looking for a musical chaser to go with that nightcap, this is the one. After all, you can't listen to "Kind of Blue" EVERY night before you go to bed.
Am I Boppin?
Reviewer: John Storie from Portland, OR
I enjoy Grant's playing on this album. I feel it is similar to the Idle Moments session, but has the luster of a different mood with the horns and organ. I think grant was the king of swing and he is my biggest inspiration as a jazz guiarist. Even though this is not my favorite of his albums (Latin Bit is my favorite) it still has the Grant Greeness that is such a vital part of Blue Note history. Did you know Grant recorded on more albums as a sideman between the years 1961 and 1965 than any other Blue Note Artist? Thanks Rudy for reissuing his masterful material--and I agree, Goin' West should be reissued.
Grant Green- Am I Blue
Reviewer: Emmanuel Idowu from Detroit, MI
This is one of worst albums I have purchased form Grant Green. His music in most cases is very abstrct an distinctive. His guitar sounds like noone elses. He shows none of those qualities on this album. I expected more due to the fact this was reissue. RVG bring out some better albums from this brother in the near future. It's bad enough that the recognition he received was greater after his death. This album doesn't edify his talents.
true blue green
Reviewer: r.l. from cleveland, ohio
grant sticks to the formula and gives a very cool relaxed session. there are no bad songs on this release but there is nothing spectacular. It would be nice if you would release "VISIONS" his truly last great session.
Great Album
Reviewer: Seok Chae Kwon from South Korea
It's great and nice jazz. No more explain!
great grant and patton
Reviewer: greg from poland
The album HAS already been issueed as CD in Japan. I got it for 30 USD. Anyway I will be the edition as well. It tells everything - great Grant and organs by Patton.
- Jazz / Mainstream Jazz -
Grant Green
Granstand 5917232
Rudy Van Gelder Edition
Editor’s info:
Yusef Lateef and Brother Jack McDuff, then Green's employer, make a rare Blue Note appearance on this soulful Grant Green classic, which includes the magnificent slow blues "Blues In Maude's Flat".
Get a job!
Reviewer: Karl von Clausevitz from Berlin, Deutschland
Oh, Biff, it seems you're damn too heavy, for someone must have placed a 50lbs brick inside yer brain. Either you're such a big fan of Larry Young you can't get it there are other organ grinders around (that would be a-ok with me) or you're simply too dumb for this one. McDuff isn't one of my favorite musicians, but on this disc he sounds real fine. And as for Lateef - I'm sorry, have you ever heard of a guy named Sonny Rollins? Or Coleman Hawkins? Cos it seems you lost them under way and now you're a bit lost yerself. Lateef here sounds better than on his own albums. I think you just placed your headphones on an inappropriate organ. Try listening with your knee. Thank you.
GRANTSTUNK !!!
Reviewer: Biff from Cleveland,Ohio
I'm probably one of the biggest Grant Green fans around,but this is really a bad CD.Jack McScrub is too damn heavy on the organ.It sounds like he is playing with 50lb bricks on his hands.Plus Yusef Lateef is a little to light with the horn to be playing with an organ on this session.
Lateef?
Reviewer: Bluesboy In Maude's Flat from Tehran, Iran
Talking Soul, This Could Be A Better Session If ... Lateef Would Sound As Assured As His Cannonball Period. McDuff Smokes. Also, A Good Choice Of Songs. "My Funny Valentine" Is A Personal Favorite. Grant Green Is One Of My All-Time Great Guitarists And This Album Stands With His Best.
Copy control ruins sound
Reviewer: Jochen from Germnany/France
I can only agree with Brian Henderson's comments below. Moreover, the copy control makes the sound thin and sibilant, and much less listenable than real CDs, such as "Idle Moments," which has a very full and pleasant sound (because it is not copy controlled, at leats not the one I have).
Grantstand
Reviewer: GuitarMan55 from kajhhbijdsnai
In my opinion, Grantstand is the second best blue note Grant Green CD. The title track has a very unique pop that starts the CD off great. In My Funny Valentine Grant Green shows off his great skill of baladry. Blues in Maude's Flat has a very smooth lade back track that i can listen to for the rest of my life. Old folks is one of my favorite short Jazz songs and i don't like many. And Green's greenery is a great finisher.
Grantstand is also a Greatstand - 5 notes
Reviewer: Richard Everett from San Marcos, Calif. San Diego County
There is a 9 minute version of "My Funny Valentine" on this CD. Everyone plays "My Funny Valentine". It's a cliche. Chet Baket did it first in jazz about 60 years ago and his version of it was incredibly beautiful. It took him less than 3 minutes to play it. Miles Davis's version took 15 minutes, but it was not any better. It seems to me that people should stop playing this tune. It has been played to death and each and every version is really great. Having said all of that, Grant Green's version of this tune on "Grantstand" is by the best version of it that I have heard, except the Chet Baker original version, which is still the very best version there is. So why did I give this CD 5 Notes? Because it has the second greatest version of MFV on it, and because Green plays his ass off and because all 5 tracks are 5 of the best tracks he has ever recorded. Lateef plays better on this CD than I have ever heard him play before or after. McDuff and Harewood also turn in spectacular performances. It's well produced, and it's a pity these 4 musicians did not record more music. They had a special "once in a lifetime" chemistry which happens far too seldom, but is very appreciated by us old jazz hounds. Burrell may be the best jazz guitar player on earth, but after you hear Grant Green play MFV and "Blues in Maude's flat", you could change your opinion. FYI Burrell has also recorded MFV a few times. His version is also superb and #3 on my list. This CD is one hell of a treat.
Burn Protection?
Reviewer: Adam & Steve, not Adam & Eve from Planet Brussels
I spend approx. 450€/month on jazz records (vinyl only) If you don't want me to RIP this cd I can only suggest that you press a vinyl reissue. Many people will buy RVG reissues on vinyl since origional albums are too expensive, right?
McDuff's album?
Reviewer: Terje Biringvad from Oslo, Norway
Great album with McDuff's groovin'g B3 like the heydays on Prestige and Grant Green in usual perfection. Al Harewood equals steady souljazz, so what more to expect? Yuseef Laatef in an organ combo is a pleasent surprise. A must for B3 burners!
Great Music - Awful CD
Reviewer: Brian Henderson from Scotland
Sorry Blue Note. This is wonderful music - I could listen to Blues in Maud's Flat for days at a time. Except I can't, because the copy protection means I can only listen to the CD in sequence, not track by track. Give us a break - this LP is forty two years old. People who buy Grant Green CDs are not likely to make millions selling bootleg copies on street corners. Please treat us like grown ups.
- Jazz - Hank Mobley
The Turnaround 5245402
Rudy Van Gelder Edition
The title tune from thie 1965 hard bop classic has become a sampling standard. Mobley and Freddie Hubbard team up on four tunes including "Straight Ahead" and "Pat 'N Chat" while Donald Byrd and Herbie Hancock appear on "The Good Life" and "East Of The Village". On CD for the first time in the original album sequence, the package includes previously unpublished photos from the actual sessions.
- Jazz - Hank Mobley
Soul Station 4953432
Rudy Van Gelder Edition
Soul Station is Hank Mobley's acknowledged masterpiece. Mobley's hot, brilliantly constructed solos have a smooth sound and an easy feel. With Miles Davis at the time, Mobley is joined by bandmates Wynton Kelly and Paul Chambers along with a magnificent Art Blakey. A true classic.
Includes FRANCIS WOLFF photographs.
- Jazz - Hank Mobley
Roll Call 5400302E
Rudy Van Gelder Edition
During his tenure with Miles Davis, Hank Mobley made four Blue Note albums with band mates Wynton Kelly and Paul Chambers, the most celebrated being Soul Station with Art Blakey on drums.
For Roll Call, recorded nine months later, Mobley assembled the same magnificent rhythm section and added Freddie Hubbard on trumpet. The result rivals its more well known predecessor in swing, soul and incredible solos. The gospely "A Baptist Beat," heard here in two takes, has become a favorite among club DJs and acid jazz fans.
- Jazz - Hank Mobley
No Room For Squares 5245392
Rudy Van Gelder Edition
One of Mobley's best, this album features two 1963 all-star quintets: one with Lee Morgan and Andrew Hill, the other with Donald Byrd and Herbie Hancock. Philly Joe Jones is the driving force throughout. In the original LP sequence with two alternate takes.
- Jazz / Pianistyka Jazzowa - Herbie Hancock
Maiden Voyage 4953312
Rudy Van Gelder Edition
Editors's info:
Every single tune on this album from the haunting "Maiden Voyage" to the gentle, swinging "Dolphin Dance" has found its way into the standard jazz repertoire. Herbie Hancock fashioned a modern jazz milestone with extraordinary compositions, interplay and solos.
- Jazz / Pianistyka Jazzowa - Herbie Hancock
The Prisoner 5256492
Rudy Van Gelder Edition
Herbie Hancock added three more horns to his already rich sounding sextet for this beautifully arranged album that comines the flavor of his "Speak Like A Child" album and the Miles Davis Quintet. Hancock, Joe Henderson and Johnny Coles are the chief soloists. Highlights include "The Prisoner", "I Have A Dream" and Buster Williams's "Firewater". The CD includes two alternate takes, previously available in the box set The Complete Herbie Hancock Blue note Sessions.
- Jazz / Pianistyka Jazzowa - Herbie Hancock
My Point of View 5212262
Rudy Van Gelder Edition
Editor’s info:
Herbie Hancock's first Blue Note album "Takin' Off" introduced "Watermelon Man" which Mongo Santamaria later took to the Top 10 pop charts. His third album "My Point Of View" gave us the follow-up "Blind Man, Blind Man" which became a jukebox staple for Herbie, a hit for Donald Byrd and one his most sampled tunes of the early '90s. This album, which features Blue Note stalwarts Byrd, Hank Mobley and Grant Green, also introduced Tony Williams to the jazz world. The compositions show the range and depth of this young pianist-composer who was just weeks away from joining Miles Davis's quintet. This remastered CD includes an alternate take of "Blind Man, Blind Man" previously available only in Hancock's Blue Note box set.
very nice
Reviewer: kevin burke from renton ,wash.
I thought this cd was very good.
Not one of his best
Reviewer: Chaz from Cambridge England
Herbie conveys some brilliant tracks here, all different from each other, but I feel this album lacks something. I would recomend it only to great fans of Herbie Hancock
Smooth Herbie
Reviewer: Doyleydo from Richmond, VA
Nice disc with some great players right up there with 'Takin' Off' but the session date shows that this was not ground-breaking stuff. Still, very nice, and I think underrated earlier Herbie
- Jazz / Pianistyka Jazzowa - Herbie Hancock
Empyrean Isles 4987962
Rudy Van Gelder Edition
Editor’s info:
Herbie Hancock's fourth Blue Note album with Freddie Hubbard, Ron Carter and Tony Williams defined the sound that his jazz work would carry to this day: funk, delicate harmonies and experimental improvisation all somehow working together. "One Finger Snap" and, of course, "Cantaloupe Island" have become jazz classics.
Perfect Island
Reviewer: DM from us
Herbie's second best recording for Blue Note!Canaloupe Island is a classic.
A classic marred by inexplicably fuzzy sound
Reviewer: James Hollander from Madrid, Spain
The title says it all; for some reason, this epochal moment in jazz is nowhere near the usual Van Gelder standard for clarity, warmth and depth. Sounds like the music is muffled, being choked and it's straining to break free. If you listen to any of the classic albums from years before, say Art Blakey ones like Mosaic, this later album suffers in comparison when it comes to sound. Come on guys, level with us and tell us what's going on.
splendido
Reviewer: silvia from milan,italy
un disco splendido e perfetto!da ascoltare in treno,mentre fuori tutto passa.
splendido
Reviewer: silvia from milan,italy
un disco splendido e perfetto!da ascoltare in treno,mentre fuori tutto passa.
Tony + Ron = Five Every Time Baby!
Reviewer: DJ Blank from Fairbanks, Alaska
First of all, we all know just how good Herbbie Hancock really is. He's obviosly one of the most outspoken minds ever to hit the jazz business. What makes him stand out so much? The answer: Tony Williams and Ron Carter. These two completely turned the way jazz was played inside out and upside down. Considering Tony was only seventeen years old when he appeared on this cut, it's pretty amazing what the result is. The way that he and Carter experimented with polyrhythms makes this a landmard recording never to be forgotton.
awww yeah
Reviewer: Paul from Chicago
let's go track by track... 1)One Finger Snap. four bars of theme, 7 minutes of killer playing. And this isn't just horn on top of rhythm section, this is total group interaction. Play this for your friends that don't like jazz. If they don't like it, slap them. 2) Oliloquoi Valley. Ron Carter's Bass Line deserves its own props. And man, could Tony swing. 3) Cantaloupe Island. thats what groove is all about. 4) The Egg. Undescribable. And that's what makes it a classic.
A Musical Genuis
Reviewer: Robert from Oklahoma City, Ok
Herbie is truly a musical genius and Empyrean Isles is a great form of his musical expression. There are so many moods that are felt throughout the entire CD.
"One Finger Snap" says it all
Reviewer: Rob Whitcomb from Plymouth Meeting Pa USA
The intensity of the soloing on this album is the standard against which any and all others will forever be judged!
Herbie the Soloist
Reviewer: David from Brooklyn, USA
This tandem proves to be one of the most imaginitive and inventive on their respective instruments. While albums like Maiden Voyage showcase Herbie the composer, this showcases Herbie the soloist. Highly recommended, a must have for any jazz instrumentalist!
Herbie the Soloist
Reviewer: David Bryant from Brooklyn, USA
This tandem proves to be one of the most imaginitive and inventive on their respective instruments. While albums like Maiden Voyage showcase Herbie the composer, this showcases Herbie the soloist. Highly recommended, a must have for any jazz instrumentalist!
A Great Album
Reviewer: Dan from Toronto, Canada
Teriffic album, Herbie is in fine form on it. He can swing like any other. Highly recommended!
- Jazz / Pianistyka Jazzowa - Horace Silver
Finger Poppin' 5423042
Rudy Van Gelder Edition
The Blue Mitchell-Junior Cook edition of the Horace Silver quintet was the best and longest-lasting edition of the band. Silver was writing one great composition after another. This one features eight gems that have worked their way into the modern jazz repertoire.
- Jazz / Pianistyka Jazzowa - Horace Silver
The Stylings of Silver 5400342
Rudy Van Gelder Edition
Although this edition of Silver's quintet did not last long, Art Farmer and Hank Mobley proved to be two of the most emphatic and mature soloists to interpret the pianist's masterful compositions. Particularly striking are these original versions of "Home Cookin'," "No Smokin'," and "Soulville," all of which have become jazz standards. This album appears on CD in the U.S. for the first time.
- Jazz / Pianistyka Jazzowa - Horace Silver
Six Pieces of Silver 5256482
Rudy Van Gelder Edition
This album was just a studio get together with Hank Mobley and Donald Byrd until the unexpected success of "Senor Blues" drafted Silver into being a bandleader.
- Jazz / Pianistyka Jazzowa - Horace Silver
In Pursuit Of The 27th Man 5357582
Rudy Van Gelder Edition
One of Horace Silver's best groups was the early seventies quintet with Michael and Randy Brecker, which is introduced on three tunes from this album including Silver's classic "Gregory Is Here", written to celebrate the birth of his son.
What also distinguishes this album is the unusual context (for Silver) of the remaining four tunes including Maocir Santos' "Kathy". These quartet pieces feature vibist David Friedman in place of any horns. This is the first appearance of this album on CD.
- Jazz / Pianistyka Jazzowa - Horace Silver
Blowin' The Blues Away 4953422
Rudy Van Gelder Edition
Everyone's favorite Horace Silver record featured the classic quintet with Blue Mitchell and Junior Cook. The title tune, the beautiful ballad "Peace" and the soulful "Sister Sadie" are now standards in the jazz canon. Even given Silver's astonishing track record, this one stands out.
- Jazz / Pianistyka Jazzowa - Horace Silver Trio
Horace Silver Trio 5917252
Rudy Van Gelder Edition
Before his quintet defined hard bop, Horace Silver made these great trio sessions, which announced an important new pianist and composer. Both original 10" LPs are presented in full from the original tapes.
- Jazz -
Jackie Mclean
Capuchin Swing 5400332
Rudy Van Gelder Edition
This is pure, exceptional hard bop by Jackie McLean with Blue Mitchell, Walter Bishop, Jr., Paul Chambers and Art Taylor with all the wonderful elements of any classic Blue Note album: memorable compositions, strong solos and great feeling. But Capuchin Swing also finds the great alto saxophonist looking toward new frontiers with the harmonically edgy "Francisco." The album appears on CD in the U.S. for the first time.
- Jazz - Jackie Mclean
Jackie's Bag 5423032
Rudy Van Gelder Edition
In terms of composition, leadership and playing, this is probably Jackie McLean’s greatest album, culled from two different sessions, separated by 20 months. Three bonus tracks complete the sextet session with Tina Brooks and Blue Mitchell.
- Jazz - Jackie McLean
A Fickle Sonace 5245442
Rudy Van Gelder Edition
This is pure, exceptional hard bop by Jackie McLean with Blue Mitchell, Walter Bishop, Jr., Paul Chambers and Art Taylor with all the wonderful elements of any classic Blue Note album: memorable compositions, strong solos and great feeling. But Capuchin Swing also finds the great alto saxophonist looking toward new frontiers with the harmonically edgy "Francisco." The album appears on CD in the U.S. for the first time.
- Jazz - Jackie McLean
Let Freedom Ring 5918952
Rudy Van Gelder Edition
Jackie McLean- Let Freedom Ring (RVG Edition)This quartet date is a milestone in Jackie McLean's career, marking his major statement at expanding beyond the confines of bebop.
- Jazz - Jimmy Smith
The Sermon! 5245412
Rudy Van Gelder Edition
The 20-minute title tune is a priceless meditation on the blues. Sidemen include Lee Morgan Lou Donaldson, Tina Brooks, Kenny Burrell and Art Blakey. This CD features the album in its original form.
- Jazz - Jimmy Smith
House Party 5245422E
Rudy Van Gelder Edition
"House Party" is Smith's companion album to "The Sermon" with a decidedly more be-bop flavor. Done at the same sessions with Lee Morgan, Lou Donaldson, Tina Brooks and Curtis Fuller and Art Blakey, the group roars through two Charlie Parker tunes, a standard, a ballad and a blues. On CD for the first time in the original album sequence with one bonus track, the package includes previously unpublished photos from the actual sessions. Originally recorded and remastered in 2000 by Rudy Van Gelder All transfers from analog to digital were made at 24-bit resolution. Reissue produced by Michael Cuscuna Cover photograph by Francis Wolff Cover design by Reid Miles Liner photographs from the actual session by Francis Wolff (c)Mosaic Images Originally issued as Blue Note BLP 4186 and BST 84186.
- Jazz - Jimmy Smith
Groovin' At Small's Paradise 4997772
Rudy Van Gelder Edition
In the 20 months between Jimmy Smith's first Blue Note session and this live appearance at the great Harlem club Small's Paradise, he'd become a nationwide hit and launched a whole new sound in jazz, playing the electric organ. He'd made 15 albums (!) in a variety of contexts, but this live session captured how he reached people night after night with his working trio. Nine selections here had made up two volumes of "Groovin' At Small's Paradise". Making its first appearance on CD, the session has been restored to the original order in which the band played the music that night with four previously unissued tunes added. Rudy Van Gelder returned to the original tapes he made in a corner of the club that night to achieve the best possible sound for this valuable document.
- Jazz - Jimmy Smith
Cool Blues 5355872
Rudy Van Gelder Edition
Although not released until 1980, this 1958 all-star gathering at Small's Paradise in Harlem, New York has become one of Jimmy Smith's most highly regarded Blue Note albums. Lou Donaldson, Tina Brooks and Art Blakey join Smith's trio for four extended jams.
The first CD issue of this album was withdrawn for pitch problems. Rudy Van Gelder has gone back to the original tapes to reconstruct the CD with corrected pitch, better editing and superior sound.
- Jazz / Mainstream Jazz - Joe Henderson
Mode for Joe 5918942
Rudy Van Gelder Edition
Editor’s info:
Joe Henderson's final Blue Note album in 1966 featured an all-star septet. Every composition is a beautifully-voiced and played gem.
The RVG Series consists of classic Blue Note albums newly remastered in 24-bit by the original engineer, legendary Rudy Van Gelder, with state-of-the-art equipment. These Reissues are produced by Michael Cuscuna. Check out all RVG titles.
Still sounds good!
Reviewer: Electricmiles from Glasgow, Scotland
Was gonna buy the RVG edition, but after reading some of the reviews i'm not so sure.My vinyl copy of about fifteen years still sounds pretty good.As for the music it's classic Bluenote.The tracks on side one are particularly memorable but the thing that stands out for me is JOE CHAMBERS.The guy is awesome, he plays on about twenty of my Bluenote recordings and he is a powerhouse on every one.
Music is fine but the sound is bad
Reviewer: schmelzhirn from Germany
well, there is nothing to say about the wonderful music Henderson and cohorts play here. Its simply amazing. But -at least my copy- sounds awful because in louder passages it just clipps! There is distortion because the remastering pushed the volume too loud! So the beautiful music is messed up by this failure of the RVG-Edition. It´s too bad!!
Great session for Joe...
Reviewer: Joe Chiram from California
As stated by earlier reviews it is a mixture of 50's bop and the more modal 60's. The themes are fuller with the addition of Fuller and Hutcherson and with a bopish edge. Joe is really liking this setting and its obvious and shows in his solos. I really like the ethereal cries he places in his solos. Cedar Walton contributes greatly to this session with the inclusion of two of his compositions, "Mode for Joe" and "Black." Yet still something is lacking from Lee Morgan. He seems a bit uninspired with this session. Also, I still believe with the addition of two more insturments to a normal quintet setting, that there would (or should have been) be better horn arrangement on the themes. Rather then all the players playing the head in unison. That's why I give this session 4 stars. Henderson, Walton, and the sparse Hutcherson solos take the stage though and you won't be dissapointed with picking this album up.
ocally
Reviewer: ocally from cardiff
superb
Different Sound For Joe
Reviewer: Suffering Jazz Fan from Boise, ID
Jazzman's right-- the question of whether JH was a better leader or sideman is moot. Sure, he served up some mean side dishes, but I would argue that six of his own albums (Page One, In-N-Out, Inner Urge, Mode for Joe, Joe Henderson in Japan, and the State of the Tenor), collectively, match up well against the top six albums of pretty much anyone, including Davis and Coltrane. (Unfortunate that Joe ended up on such a crappy label in the '70's, or he might have added a few more classics to his name). In any event, this is a great album, worthy of a 5-star rating. Like other reviewers have pointed out, it's a different sort of set, with three horns, piano and vibes, and the resulting sound is different than on other Henderson dates. Less cutting edge than In-N-Out and Inner Urge, but fuller, rounder, and more swinging. Sort of a '50's meets '60's kind of thing-- a little bit hard bop, a little bit modal, with a splash of avant-garde. You might liken the sound to some of what Dave Holland is doing today with his quintet. In short, this is a unique Henderson date, and one that might take a couple listen-throughs before you fully appreciate it. Nonetheless, it's well worthy of your investment.
Go(no)Joe,so
Reviewer: Justin from go
I agree nothing special. Nothing special at all. As I'm writing this I'm saying is this true. Well yes it is. It might be ok if anything. Or good. But to me all Joe H enderson's cd's have a coulple things in common. 1 tey feel like there missing something. 2 they are all average. 3 writing is not good. To me Joe is much better as a sideman,not a leader. Peroid....
One of Joe's best albums as a leader.
Reviewer: Leeman from Port Angeles, Washington.
Jazzman asked a good question, whether Joe was a better sideman than leader. That is an unansweralbe question, not rhetoric, but unanswerable. His first great "Page One", was a great start for the tenor man. Joe could kick very bad ass whether he was playing Free, Avant-Garde, Hardbop, Modal, anything. All of that is compiled right here in this album. Not as daring or risk-taking as his best, "In 'n Out", but much better arrangments and altogether interaction between the horns. Lee and Joe should have recorded more, "Sidewinder" was a great chance for them to play pure hardbop, only Joe's in the drivers seat now. All tunes are kickers but the title track seems to have this enlightened feel that the other tracks don't quite have. This is tough jazz for tough players with some of the best arranging I have ever heard. Five big Ovals for "Mode for Joe"
It ain't polska Keilbasa, but it tastes just fine
Reviewer: Jazzman from San Marcos, Ca. USA
I guess the question will always be if Joe Henderson was a better sideman than a leader. I honestly don't know, and I suppose it depends on what you are looking for. Joe was probably the most flexible and adaptable sax player of the era, and certainly one of the most versatile. He has so many landmark credits as a sideman and co-frontman it is incredible. His own offerings as a leader are as varied as his work as a sideman and frontman, so it may be a moot point. Joe was always superb, until his later years when he simply mellowed away. This Cd is frankly, one of the very best CDs in my collection. It will always be compared to "Page One" and "Inner Urge" and that is wrong. "Page One" had the great compositions and it stands on it's own. "Inner Urge" had all the surprizes and trick playing, and it delighted everyone. "Mode for Joe" is more even and balanced. The individual solos are quite astonishing, yet not flashy in the sense that "Inner Urge" unleashed. The first 2 tracks "A shade of Jade" and "Mode for Joe" and Cedar Walton's alternate track of "Black" will blow you away. They sparkle with creativity and power. There is an excellent sense of fairness in this session and everyone gets a fair share of solo time. The combination of Chambers and Carter is collossal throughout the session. Joe's playing is at times a bit far out as in "Inner Urge" and sometimes even more so, but much of his playing is incredibly inventive and spontaneous, as it was on "Solid", "Unity", and "Thr Real McCoy". Lee Morgan's "Free wheelin'" is also a highlight, as is the more pedestrian "Granted". "Carribean Fire Dance" is quite interesting and well played. Curtis Fuller is exceptionally good on the session, but the biggest surprize for me is Cedar Walton, who is really smokin' all the way through. Joe Morgan more than lives up to his billing and he is also smokin'. After running this through my CD player a couple of times, It is my second favorite Henderson CD. "Page One" is still the shiniest apple on the tree with "Blue Bossa" and "Recorda Me", but "Mode for Joe" is his most satisfying.
And not a bad mode for him, isn't it?
Reviewer: Kalixt from Warsaw, Poland
Mode for Joe is one of the best albums that I have. I first heard Henderson on an Andrew Hill album (Point of Departure); before that I only knew he was much into boppish moods. On Point of Departure, though, he bravely stood against Dolphy, whose playing I always admired. He showed that he was (and surely is) capable of things more improved than just "simple" bop. Mode for Joe is another evidence of this capability. Especially the first track, though really hard to recall even after a dozen of listenings, represents an appropriate amount of tough playing by each and every one of the sidemen and by Henderson himself. Though it's a single appearance on this album, the rest is also appalling. I sincerely liked Morgan's solo on Granted; and the hard play of Joe Chambers throughout the album. Tones of great sounds, really!
Its worth
Reviewer: Andre Hoehn from Kiel, Germany
What a refreshing sound at 'Carribean fire dance'. My favorite. Like it all. Thanks 'Blue Note Records' for rerelease!
Never make fun of a Polska Polka
Reviewer: Jan Lenzbork from Leuberdask, Poland
Blackjazz is wrong. We poles listen to a lot of very fine jazz. Have you never heard of The recorda me polka? Just because we make jazz with accordians and Tuba doesn't mean we don't know what a tenor sax is. Joe Henderson can play in our local polka band anytime. Wait til he hears the Recorda me polka in 4/4 time. Grab a beer and a good, fat woman. But seriously, this LP kicks some major buttski. Beer and Polska Keilbasa for everyone. 5 big perogies. Sing along ... Recorda me polka ... Yah yah yah ... recorda me polka ...yah yah yah (repeat 130 times) Yah yah yah.
A polish review
Reviewer: BlackJazz from New York
Well i think Matthew of Poland is completely mistaken by his judgement of wonderful Joe Henderson CD. No interesting compositions, yeh sure when you're used to polish polka's it will swing to much! Ever heard polish Jazz??? Right it don't exist! So what are you talkin'about? Listen deeper listen many many times! I'll thing you gonna enjoy this one!
The alltime Great Hoe Henderson
Reviewer: No excuses from Holland
At first i didn't like this recording of Joe Henderson. The frontline with trumpet, tenor, trombone and vibes wasn't my thing. But then i listened carefully to the solos of Joe and the record hit me right there!!! Very good blowing by Joe Henderson and a stellar rhythmsection made this cd a gass! One thing is for sure, Joe was always a strong player who regardless of the surroundings always plays on his top. My advise, buy this CD!!!
Henderson on Fire!
Reviewer: Greg B. from Rochester, NY
This is easily Joe Henderson's best CD for Blue Note, or for that matter, ever. This album sets up a killer groove for the four "horns" to improvise over. This album is more complex than Moanin' but easier to digest than Out To Lunch. I wish I could Give this CD a 6'th note, because it's just that good.
beauty from Joe
Reviewer: Harry Schipper from Winschoten, Holland,Europe
One of my favourite Henderson's! The little bit "free style" and sometimes "dirty" playing of Joe makes this album a must-have for me. Also because this one is different from the Page One and Our Thing-albums but you can still hear it's Joe playing his tenor. The compositions are very good, also thanks to Cedar Walton. It's a very swinging album, and I like Lee's sound more than Kenny's, Lee is doing some nice things here. Listen to Carribean Fire Dance, the lungs of Joe and Lee must content a lot of air. My compliments to all the seven man who made this album, it's a beauty!
nothing special
Reviewer: Mathew from Warsaw, Poland
I bought this one to have something of these musicians. And I am disappointed. Normaln, mainstream jazz music, with no energy, no interesting ideas. Only one-two pieces are worth listenning. Hutcherson is hidden behind. Compositions are weak.
- Jazz / Mainstream Jazz - Joe Henderson
Page One 4987952
Rudy Van Gelder Edition
Editor’s info:
Page One introduced the jazz world to the unusually mature and original young tenor saxophonist, Joe Henderson. "Recorda Me" & "Blue Bossa" have become jazz classics for their mix of Brazilian rhythms with Hard Bop muscle.
a five-stars pick!
Reviewer: Patrick, Québec from Québec
Wonderful, not only for the first tune, but for the whole album
This is Joe
Reviewer: Leeman from Port Angeles, Washington.
This is good, actually that would be an insult. This is EXCELLENT, Joe could not have done a better job. I disagree with Kenny Dorham that Hendersons best solo on the album is on "Blue Bossa". In my case it is not a very interesting solo which does not move me much. Everything else is incredible though, "Out of the night" must be Hendersons best composition and best recording. I like Joe and Kenny a lot, Larroca is like Tony William, who was on the quintets previous release, he will float the time to give the album a freer feel. This is a classic, not Joe's best, not his worst(if he ever did record any bad albums). Five Notes definitley for his work put into his first great session as a leader.
early beauty
Reviewer: laurens from Netherlands
More than thirthy years ago, I first heard Joe Henderson with Horace Siver. The record was "Song of my father". I Liked that record, but I lost Henderson out of sight. For years there were other preferences. However, in 1996 Henderson played at the beautiful Jazzfestival in a small village in the southern of France, Marciac.After that concert he was back.I listened as much records as possible.And this early disc is one of his most authentic recordings
JOE HENDERSON REVIEW - IN ENGLISH
Reviewer: Richard Everett from San Marcos, Calif. San Diego County
Joe's accomplishments are enormous and many, although his discography seems surprisingly small. I still credit McCoy Tyner's wonderful "The Real McCoy" CD as a Joe Henderson CD. Without Joe Henderson, a lot of landmark music would lack the very important element of Henderson's tenor sax. He was every bit as creative and talented as Hank Mobley or John Coltrane. This was the first Joe Henderson CD I ever listened to and it's awesome. Every track blew my mind and I began seeing God and speaking in tongues. 5 notes is an insult to JH, and for the life of me, I have never listened to a JH release I liked better than this one. Everyone must have this music. It is Boss. 5 Notes.
Un clásico inmortal de Blue Note
Reviewer: Manuel Gómez Merino from España
Para mi Joe Henderson es un grande entre los grandes, pero "Page One" está fuera de todo molde. Es un disco dulce, melódico, bailable, una de esas grabaciones imperecederas. Todo lo que Henderson hizo para Blue Note merece mucho la pena, pero para no iniciados en el universo "hendersoniano" este es un fenomenal punto de arranque. La banda no tiene desperdicio, especialmente el incombustible Dorham, un fenomenal padrino para la primera toma de contacto como autor del genial saxofonista americano.
Joe = Way Cooler Than I Ever Imagined
Reviewer: DJ Blank from Fairbanks, Alaska
WHEW! Here's one for the books ladies and gentlemen! When I first heard that Joe Henderson had died in May of last year, I wasn't affected by the fact too much. I never had really ever listened to this player much. No one had ever really talked about him to me at all, and I didn't think much of the fact that he was no longer with us. Time went by, I compiled more and more albums of Miles Davis, Herbbie Hancock, the Messengers, and others alike when finally last week I decided it was probably time I had the record with Blue Bossa on it. I had no idea what I had gotton myself into. This record is without a doubt, one of the most fantastic recordings of jazz ever. No question. Blue Bossa alone sets this record apart, but then you listen more and you realize that every tune has its own qualities that make it different. My personal favorite would definately have to be Recorda Me. The way the changes are written is different from any other latin piece I've had the pleasure of hearing before. In addition to the fantastic compositions, make sure to also give credit to the fantastic personel on this record. Special props go out to Pete La Roca the drummer. I had never heard of him before and his groove is unmistakeablye incredible. Please do yourself a favor and go get this album!
Joe Henderson at his best.
Reviewer: Keiran from London, UK.
This album is simply Joe Henderson at his best. The two stand out tracks here are the latin-flavoured Blue Bossa and Recorda Me. Great stuff.
- Jazz - Joe Henderson
Our Thing 5256472
Rudy Van Gelder Edition
Editor’s info:
This is the third exceptional collaboration by Joe Henderson and Kenny Dorham (after "Page One" and "Una Mas") with the cutting edge rhythm section of Andrew Hill, Eddie Khan and Pete LaRoca. The tunes and the playing are superb throughout. Added to the original album is an alternate take of "Teeter Totter". The package includes previously unpublished photographs from the actual session.
track 5
Reviewer: sophia from georgia
yes i agree with george, track five is one of the most beautiful song i've heard (along with 'theme for doris'on 'true blue' by tina brooks) and i must say, i can listen to it all day long. anyway, its not one of my favoriate joe's album, but 'escapade' made the it a worthwhile buy. one should never put any of these great jazz musicians down. they were all wonderful and since we all cant play like them, we shouldnt ever critize them. we should just enjoy their music.
ONE OF THE BEST ALBUMS
Reviewer: George Shearing from
Dorham and Henderson fits so good together that it makes me cry. for the reveiwer who said that dorham doesn't know how to write.... man you totally wrong. track no. 5 (escapade) is one of the most beautiful tunes iv'e heard... and i heard a lot. anyway.. i think it's a MUST album for henderson\dorham fans, and for every jazz fan.
For hardcore Henderson fans only
Reviewer: pizzaboy from Sante Fe, New Mexico, USA
Read the liner notes and I quote 'this album is for hardcore Durham/Henderson fans' Thats what it says. It's loose and disheveled and going different directions at once at times but it's also Henderson playing some good hardbop jazz. The title says it all. This is what Durham and Henderson wanted to do and this is what they did. Teeter Totter is the best track and it is excellent. It was written by Joe. The rest of it was written by Dorham who is not exactly a genius of song writing is he? He wrote 'Una Mas' didnt he? Then it kind of gos downhill, but that was the best they could do with Dorham's shitty material. I agree with Jazzman about the quality but I give it 5 stars for Joe, who plays great throughout the session.
What happened????
Reviewer: Jazzman from San Marcos, Calif. San Diego County
I really love Joe Henderson and I have most of his sessions, but this one leaves me puzzled and a little frustrated. It isn't awful but it never really goes anywhere. I'm sorry I bought it. For something special, buy "In 'n Out" or "Joe's Mode". Leave this one alone. 4 notes is a gift. Bad session.
Same crew - different results
Reviewer: Jazzman from San Marcos, Ca. USA
This is the same band that recorded "Page one" but it isn't even a whisper of what "Page One" is. For some reason this group doesn't quite gel and it never quite gets cooking on all 8 cylinders. "In n' Out" and "Mode for Joe" are far better. I gave it 4 notes, but I'm not sure it is deserving. This is Joe's weakest effort, but it is decent. It's not a rip-off, but you could spend your money much wiser. 4 chalupas.
MattMan
Reviewer: MattMan from NY, NY
With all due respect to the last reviewer, I think it is Andrew Hill who makes this set so special. Contrast the cheery, swinging mood of Henderson's work with McCoy Tyner (check out Page One, Inner Urge (also a must-have), the Real McCoy and their work with Bobby Hutcherson) with the playing here. It is more introspective, even darker and moody at times but also beautiful, searching and uplifting. This is a fascinating album and for the same reason as Hank Mobley's No Room for Squares -- Great ensemble playing, phenominal soloing plus the special mark that Hill left on all his sideman dates. And great sound as always thanks to Mr. VG -- particularly the way the piano and bass are brought out makes you feel like you are in the studio. A fascinating album. Wait until after dark, pour yourself a Scotch and enjoy!
Hmmm cutting edge?
Reviewer: Mark from Milan
I feel that on this one, the rythm section just doesn't seem to gel. The drumming sounds almost nervous some of the time and as for Andy Hill...He just stops the whole band from swinging.
Big Joe doing his thing
Reviewer: René A. de Hilster from The netherlands
This was really a big time for Joe Henderson. All his Blue Notes recordings are the best. Playing with outstanding rhythm sections and the combination with Kenny Dorham was a very lucky one.. The togetherness is marvelous on this particulair disc. All songs are really worthy to hear. Well, i have one advise. Buy this record and play it over and over again.
Joe Henderson is Amazing
Reviewer: smac from Boston
Joe Henderson is the epitome of individuality and uniqueness in jazz. How can this cat play so many simple ideas and phrases and yet be so bitchin and sound like nobody else?
Our Thing
Reviewer: Stijn Van Onsem from Belgium
Same style as PAGE ONE, so even pleasant/ pleasing.
Our Thing
Reviewer: Stijn Van Onsem from Belgium
Same style as PAGE ONE, so even plaisable.
- Jazz - John Coltrane
Blue Train - remastered 5917212
Rudy Van Gelder’s Edition
www.inkblotmagazine.com
'...The only album John Coltrane recorded for Blue Note as a leader turned out to be one of his most rewarding statements, not to mention a highlight of Blue Note's recording history. Coltrane didn't stay in pure "hard bop" territory very long. He would soon after return to Miles Davis' group to pursue modal-based jazz and continue on to explore Eastern motifs and free jazz. At the time of this recording, he was working in Thelonious Monk's legendary Five Spot quartet...' [Marc Greilsamer]
- Jazz / Mainstream Jazz - Johnny Griffin
A Blowin' Sessions 4990092
Rudy Van Gelder Edition
Editor’s info:
Johnny Griffin was considered the fastest tenorman on the scene when this blowing session was recorded. But he always combined chops with creativity and intelligence. Here he comes together with two very different tenor stylists in Hank Mobley and John Coltrane for a wonderful, relaxed, musical jam session that includes Lee Morgan, Wynton Kelly, Paul Chambers and Art Blakey.
Added to the original album is a previously unissued version of the blues "Smoke Stack."
Harp Blowing Session
Reviewer: Guillermo Suarez from Miami, FL
As stated in the liner notes the addition of Coltrane was a pure chance. Just looking at the line-up and comparing it to the list price you cannot be disappointed. All the players are classic. Can't go wrong with this one.
FIRE!!!
Reviewer: Weed Man from Bombay, India
My stereo burns every time i'm playing thit cd HARD-HARD-HARD-BOP!!!
WOW--This really swings
Reviewer: Jonathan Singer from Portland, Oregon, USA
I don't think that there is anything that could make this album any better. The three "boss tenors" each come from different schools of playing within hard bop and yet come together to make it a swingin' affair. Lee's playing is spectacular as was Wynton's. I was particularly drawn to Chamber's playing (I'm biased--I'm a bass player). This is a must-have album!!
Superb
Reviewer: Chaz from Cambridge, England
I love it! This organised jam session is of a perfect line up! I recomend it!
Not quite up to its promise
Reviewer: Mike J. from Wisconsin
I tend to agree with Russell Seilhamer on this one. It swings hard and it's loud and uptempo--"driving" is indeed a good word--but it does get a little tiresome. Although I like it overall, it's not really up to the promise of the stellar cast. ~~~~~Also, call me a philistine or worse, but I'm just not finding the sound quality on the RVGs to be very good. The Connoisseurs I have are uniformly better. And listen to the 20-bit JVC remastering of Miles' Davis "Bags Groove" on Prestige--also a Ven Gelder engineering job, but fuller, richer sound quality than the Blue Note RVGs, which I'm just finding a little too thin and tipped up in the treble for my taste. Maybe I'm just having bad luck with the RVGs I'm choosing.
Absolutely Fantastic!
Reviewer: James Morrison from Denton, United States
Some of the best uptempo straight-ahead jazz out there. All-star lineup, and it swings hard! This is one of my favourite albums; I would highly recommend it!
one of the great one!
Reviewer: Yu Ushizaka from Honolulu, HI
do not listen while you drive! ... make you wanna go faster and faster!
griffin blowin
Reviewer: russell seilhamer from royal palm beach florida usa
Griffin on sax, Lee Morgan on trumpet, and Art Blakey on drums. How can you go wrong with that lineup? This disc has a tremendous loud uptempo feel to it. The interesting phrasing of Griffin and Morgan heats things up and then Wynton Kelly on piano cools things down. This hot and cold tension makes for great jazz. The tracks are somewhat too long and they bog down getting tiresome like alot of hard bop. It is a CD worth having to the hard core collector
- Jazz - Johnson, J.J
The Eminent Vol.2 5321442
Rudy Van Gelder Edition
Editor’s info:
The Eminent Volume 2 contains Johnson's complete 1954 and '55 sessions. The first with Wynton Kelly and Charles Mingus offers mostly standards that showcase J.J.'s rich, fluid trombone. The second with Hank Mobley and Horace Silver is clearly in the Blue Note mold.
- Jazz - Johnson, J.J
The Eminent Vol.1 5321432
Rudy Van Gelder Edition
Editor’s info:
With a powerful front line (Johnson, Clifford Brown and Jimmy Heath) and the rhythm section of the Modern Jazz Quartet, this master trombonist's complete 1953 session offers great variety and superb playing from all concerned. Brownie is especially astonishing throughout. The tunes range from bop to standards to an early Third Stream John Lewis piece, "Sketch 1".
- Jazz / Mainstream Jazz - Julian "Cannonball" Adderley
Something Else 4953292
Editors's info:
One of the best known record dates in the history of modern jazz, the chemistry among Adderley, Miles Davis, Hank Jones, Sam Jones and Art Blakey is amazing. Their radical reworkings of "Autumn Leaves" and "Love For Sale" are masterpieces. Miles' title tune and Nat Adderley's "One For Daddy-O" are classics.
Includes extra FRANCIS WOLFF photographs and 1 bonus track
- Jazz / Mainstream Jazz - Kenny Burrell
Midnight Blue 4953352
Rudy Van Gelder’s Edition
Editor’s info:
Alfred Lion considered this his favorite production and well he should have. Without piano, Burrell, Stanley Turrentine and company get a clean open sound and a deep groove on such now classic compositions as the title tune and "Chitlins Con Carne", which has become a blues band staple.
This RVG Series compact disc also includes extra photographs and 2 bonus tracks.
the best overall
Reviewer: petedenis from mont saint-hilaire, québec, canada
this is the best disc, from the beginning to the last song.Consider to buy this one if your new to jazz...10/10
Special Rhythm Blues
Reviewer: Wayne Dawson from Melbourne, Australia.
Kenny Burrell has a unique blend of style on full view with this recording. Bill English on drums and Ray Barretto on congas add spice to the rhythm section, never getting in each others way, indeed, adding space to swing which Kenny Burrell and Stanley Turrentine do in abundance. Theirs is a rich musical language of electric guitar and tenor sax, compatible and very compelling (Turrentine's 'Hustlin'' makes for a great boon companion to these sessions). On the title track Kenny and rhythm go it alone and the vibe is all positive, unhesitating in its confidence. The quiet playing of Burrell on 'Soul Lament' is rescued beautifully here by 24 bit remastering. Thanks Rudy you gem!
Fantastique
Reviewer: Claude from Nimes, France
Un album fantastique - qui n'a pas pris une ride
simply the best!
Reviewer: kevin burke from renton ,wash.
this i have on a japanese 180grm. pressing.the sound is a lot better than cd.but anyway its one of my absolute favorite records so pure,so real, simply the best.
something to think about...
Reviewer: Feodor from Moscow, Russia
I have about 400 cd now. Half of it blues, another half jazz, almost everyting from "blue note". A lot of Jimmy Smith, some Grant Green, some Donaldson, a couple of Ike Quebeck, Stanley Turrentine, of course Kenny Burrell, some other guys. And if i'll move somewhere & won't be able to take more than 3 cd's from my jazz part i'll take "Midnight Blue" the first one, "Idle Moments" by great Grant Green, "Home Cooking" by Jimmy Smith... "Midnight Blue" was the first "Blue Note" record that i bought & IT'S THE BEST!!!
Desert Island Pick
Reviewer: BG from Las Cruces New Mexico
What can I say but this is as good as jazz gets.Midnight Blue HAS to be the definitive late night jazz CD!Hands down one of the best jazz recordings ever!!!
A Cult Classic
Reviewer: Steve C from London , England
When Alfred Lion was asked what was his personal favorite Blue Note recording he would mention Midnight Blue. Since then it has gained cult status. The classic Reid Miles / Francis Wloff cover has been copied by Elvis Costello for his 1980 LP Almost Blue. The opening track Chiltins Con Carne has become a blues staple having been covered by blues legends Junior Wells and Stevie Ray Vaughan.The title track was borrowed by now Blue Note recording artist Van Morrison for Moondance.The record itself is classic late night jazz.The late, great Mr T plays brillianty on the tracks he's featured on.I can't comment on the extra tracks as i have the original LP copy of this cult classic which is my second favorite Blue Note LP ahead of Hank Mobley's Soul Station.
Burrell's Blues
Reviewer: Bob Payne from Topeka, Kansas
This is indeed a great record! I find myself playing it a lot lately. Every track is great, but my favorite is "Saturday Night Blues". It's the perfect closer for an album about the blues. I can see using it as a closing theme during live performances of this type of music. The melody is relaxed but hot and Kenny plays his best solo on the record. Stanley Turrentine is the consummate saxophonist for this type of music. Twenty years ago I had the privilege of seeing Kenny Burrell live. I wished he had used this lineup and played this type of music!
Kenny B - The Greatest!!
Reviewer: John Mayhew from Philadelphia, PA
Truth be told, I just heard this selection (Mule) for the first time this morning (Temple FM-WRTI). My first guess was Kenny B. - he has that unique, distinctive, authoritative sound - "Kenny's Sound". Talk about a coincidence - it was Jimmy Smith who first introduced me (not literally) to the great Mr. B on his "Any Number Can Win" album (The Sermon). Kenny's ultra-articulate playing makes his instrument sound like it has a TONGUE! It's the same type of playing on "Mule", and this recording predates THE SERMON - great preparation, huh? (He also shows his [very substantial] 'stuff' on ANY NUMBER's - "What'd I Say") Check it out - you'll love it!! I love Wes, but Kenny B is tops! They could well be co-champions!
best guitar album
Reviewer: kosmo from athens greece
best guitar album i"ve ever heard
This album is what Blue Note was all about
Reviewer: Philip from Melbourne, Australia
The Penguin Jazz Guide once described this album as "a minor classic" with Turrentine playing as if he's trying to blow out a candle on the other side of the room. This album is so bluesy and cool that if you play it, you'll be able to wear your Ray Ban shades out at night, and nobody will laugh at you.
Better in the night!
Reviewer: Pau from Valencia, Spain
I can´t say nothing more about that great album. But it surely gives his best when you lisent it in the night.
Classic!!!!!
Reviewer: Lapeere Bert from Meulebeke, Belgium, Europe
What can I say more, theire are just no words. A must have. Love it or drop dead.
wonderfull
Reviewer: nacho sanchis aparicio from Canals.Spain
I think that this is the bible of the blues.Totally atemporal.
Getting down
Reviewer: Alfred Scott from Rialto, California
The best blues cd of the century. And to think without a piano.
The MEANING of the blues
Reviewer: Krish from Bangalore,India
if you ever wanted to check out every possible shade of the blues,this has to be the record.Burrell's fluid guitar sound conjures up everything- from the funky 'Chitlins Con Carne" to the delicately textured 'Mule'...and Stanley Turrentine is in fine nick on this date.The RVG series is the one the greatest things that's happened to Jazz..period
Few words are needed
Reviewer: Steve C from London, England
Best record Kenny Burrell ever did,greatest guitar jazz LP of all time. Nuff said.
U Got That Right W.C. From Atlanta
Reviewer: Robert from Oklahoma City, Ok
It blew my mind when I first heard this CD. I was on my way to HotSprings Arkansas and kinda borrowed this CD from my mother. I couldn't believe what I was listening to. Kenny Burrell gets way down into the soul of a man with "Midnight Blue". He plays with so much heart and soul on this CD that I don't think I ever heard blues played this way before. But I still have to remain loyal to my main man Grant Green even though Kenny is the best when it comes to "playin the blues".
U Got That Right W.C. From Atlanta
Reviewer: Robert from Oklahoma City, Ok
It blew my mind when I first heard this CD. I was on my way to HotSprings Arkansas and kinda barrowed this CD from my mother. I couldn't believe what I was listening to. Kenny Burrell gets way down into the soul of a man with "Midnight Blue". He plays with so much heart and soul on this CD that I don't think I ever heard blues played this way before. But I still have to remain loyal to my main man Grant Green even though Kenny is the best when it comes to "playin the blues".
greatest bluesy-jazz album ever
Reviewer: W.C. from Atlanta
with apologies to Montgomery, Green, Christian, Django and all the wonderful guitarists...of the jazz CDs I have that highlight the guitar as the feature instrument (about 15%-20% of 175-200), this is absolutely my favorite..basic, strait-ahead style..lots of meat and soul..we play this as background whenever we entertain..must have for your collection.
- Jazz / Mainstream Jazz - Kenny Dorham
Whistle Stop 5256462
Rudy Van Gelder’s Edition
Editor’s info:
Rightfully considered one of Kenny Dorham's best, this album features great originals and great trumpet playing. The superb cast consists of Hank Mobley, Kenny Drew, Paul Chambers and Philly Joe Jones. The title tune and "Philly Twist" are often heard, but the entire album represents a great composing achievement for KD. The package includes previously unpublished photos from the actual session.
Impressions From A Bop-Mastercraftsman
Reviewer: Wayne Dawson from Melbourne, Australia.
Dorham has a warm introverted tone that always went well with Mobley's soft, soulful phrasing (check out Horace Silver's, 'Creepin' In'). 'Philly Twist', 'Whistle Stop' and 'Windmill' reveal boppish extravaganza. With 'Philly Twist', Dorham's solo bursts like a ripe grape. 'Buffalo' sets course on a backwater groove, Mobley's solo sheer delight. 'Whistle Stop' consists largely of trio work during the horn solos, Kenny Drew adding minimum accompaniment, while Paul Chambers fleet of foot bass line provides firm pivots for yet more licked up solos. The plaintive but soon positively rousing 'Sunrise In Mexico', has a south of the border colour to it, Philly Joe kicking up clouds of cymbal dust. 'Windmill' yet another kaleidoscope. 'Dorham's Epitaph' a crowning flourish from a fne trumpeter. Recording clarity captures the radiance of the horns and tumbling gymnasia of a great band. Thanks Rudy you gem!
BETTER THAN MOST ALTHOUGH NO CLASSIC
Reviewer: Nobodyreally from Abilene Tx.
I may get mail for this but I have a large collection of Hubbard, Morgan, Byrd, Mitchell, and Lee Morgan sessions, and this session, which is a little weak by comparison, but quite good when compared to other Dorham sessions. It is Henderson who sparkles, not Dorham, although he plays well enough. I cannot dictate taste, but the Lee Morgan sessions are light years better. Listen to "The Gigalo" and you will never play "Whistle Stop" again.
KENNY'S MASTERPIECE!
Reviewer: RICHARD HARRIS from COPENHAGEN, DENMARK
This has to be Kenny Dorham's greatest album, both as trumpeter and composer. A beautiful tone, great taste, and always so inventive. The albums with Joe Henderson are classics, but this is THE ONE! I bought it when it originally came out as an "import" LP in England - Bluenote Records were then like gold dust. All the compositions are brilliant,nothing is "routine", and Kenny and the group play at the top of their game, but with great sensitivity for the sense of the music and for each other. A particular mention for Philly Jo and Hank Mobley. It's a tragedy that Kenny never got full recognition when he was alive, and the chance to write extended pieces. "Kenny's Epitaph" is a just a taste of what might have been. This really beautiful album is a fitting tribute. Thank you Bluenote, it does you credit.
One Of The Coolest Blue Notes Ever
Reviewer: Ian Kleinberg from London England
Whistle Stop I can listen to over & over again it's the perfect Blue Note album & beautifully re-mastered thank you RVG keep on doin it
Great compositions
Reviewer: Chaz from Cambridge England
I think this was Kenny's debut as a composer. Truely Marvelous!
Whistle Stop
Reviewer: Steve C from London, England
I wish to furher endorse my previous review that I hope BN/Capitol/RVG reissue an underappreciated masterpiece which is just as underrated as Kenny Dorham's "Whistle Stop" . That's Kenny Drew and his underrated classic,"Undercurrent".
5 notes aren't high enough
Reviewer: Jersey Joe from New Jersey
Stunning! When great musicians die young their legend indeed grows in some ways but the music and sheer raw genius missed out on is enough to leave one empty. But instead of lamenting what could have been I choose, no, am forced to, wail from pure joy for what is. WHISTLE STOP will stop you in your tracks. Buy TWO copies; keep one, and give one away to a perfect stranger! He'll never forget you.
Kenny Dorham Whistle Stop
Reviewer: stevec from London , England
An underrated classic from an underrated talent. His unquestionable masterpice.
Kenny Dorham Whistle Stop
Reviewer: stevec from London , England
An underrated classic from an underrated talent. His unquestionable masterpice.
- Jazz - Kenny Dorham
Una Mas 5212282
Rudy Van Gelder’s Edition
Editor’s info:
This amazing album finds Kenny Dorham trumpet playing the strongest of his career. His compositions, inspired by a South American tour, incorporate Latin and Brazilian rhythms into powerful, muscular hard bop. The title tune is a 15-minute tour de force that never loses the listener's interest. This was the second time that Herbie Hancock and Tony Williams recorded together and the very fist session by Dorham's protegee Joe Henderson. Their youthful exuberance gives this album an increcible bouyance. Added to the original album is "If Ever I Would Leave You" from the same session.
Wow
Reviewer: nick from usa
This review page is really funny, what a bunch of idiots. Kenny played great music.
CD better than vinyl... NOT THIS TIME
Reviewer: Julian from London
This session is in my top 10 of jazz recordings out of my collection of 500. But this is the worst remaster/xfer I have ever heard. You see I am lucky enough to have a Jap copy on vinyl some 20 years old and a HiFi well balanced in it's mediocrity. So on comparison where the vinyl is clear and sharp, this CD is muffled and dull. This is a heart breaking situation. If we cast our minds back to the earliest Blue Note CDs, they boasted of being direct xfers from the original master tape with no remixing. Please Blue Note, forget complcated, try simple. Please note, not all of my Blue Note CDs are poor, just try Grant Green "Matador" or Lou Donaldson " Natural Soul" or Kenny Dorham "Afro-Cuban" These all get 4 out of 5 in my book!
UNA MAS(To Smell Again) !!!
Reviewer: Biff from Cleveland
Personally, I think Kenny Dorham was one of the most underrated trumpet players of all-time,but this was not one of his better recordings.This CD is better served as a coaster for your drink.
kenny....
Reviewer: chris from San Diego
i disagree with the brit in the last entry ... just listen to sao paolo to realize that kenny had his own this going.....distinct composer as well as distninct player...not as flashy as morgan or hubbard but thats what seperates him
THE MOST OVER-RATED LP OF ALL TIMES
Reviewer: Gregory Rothschild from London
Blue note really gave this a lot of hype, but it's just average. "Whistle Stop" is much better in every way. Some of the reviewers seem to favor Lee Morgan. Some of the reviewers are pretty savvy. I would skip all the Dorham offerings, in favor of the Hubbard and Morgan sessions.
Reminds me of Eric Dolphy's Out To Lunch
Reviewer: maxx Amum from chicago ill
Another of those love it or hate it LPs. It is sort of flat, but is recognized as Durham's best. He recorded with Joe Henderson and did a pretty good job. This is pretty good. Whistle Stop is better but is also not great. I don't like Kenny Durham being labeled KD. That implies that he was ultra-popular or very famous. He was neither. He was a good composer and an above average musician who got lucky. That's it.
The joy of music.
Reviewer: Trond Berger from Bergen, Norway
This is the first record I've heard with Kenny Dorham as a leader and I must say that it's a very enjoyable listen. In fact, it's been on repeat in my player the whole weekend. What made me buy it was the impressive lineup, and especially Anthony Williams on drums. There is a special feel over the Una Mas sessions. It seems somewhat thrown together and immediate, like the musicians just happened to find themselves in the same place and just decided to play some music to see what happens. Not to be taken too seriously, but to simply enjoy.
KD's Legacy
Reviewer: J.A. from Los Angeles
Skip Kenny and move on to Lee or Freddie? I'm not so sure that either one of those great players would approve. I'm pretty certain that Lee Morgan or Freddie Hubbard would be the first to speak openly in praise of Kenny Dorham's consummate musicianship, and in fact, both musicians went on the record at various points in their careers to express their admiration. If I remember correctly, Lee went as far as to say that KD was one of the few true innovators of the jazz trumpet. Others, including the preeminent Miles Davis himself, held KD in similar esteem. I've always found it strange that people would be disparaging about KD, but it seems to me that the main reason is that his highly original tone, his most distinguishing characteristic, almost totally diverges from people's preconceived ideas of what a trumpet should sound like. But, in jazz, what matters most is the cultivation of a truly individual voice, and KD was more original than most. And as a trumpet player myself, I long came to recognize how sophisticated he was harmonically, and how complete his mastery of the trumpet was. I think this album is a good introduction to that individual voice because of its superb and accessible writing, and also for the outstanding contributions of the sidemen. Try listening to some of his other albums like Quiet Kenny, Whistle Stop, or some of the things he recorded as a sideman with Max Roach, Sonny Rollins, or Joe Henderson--you won't be disappointed. In time, you'll gain a greater appreciation for his unique kind of warmth and intelligence.
I was definitley wrong.
Reviewer: Leeman from Port Angeles Washington
After months of intense listening to this, my opinion changed and I really started to like this album. One thing, like the previous reviewer said, is there are a whole bunch of different kind of players on this album. Joe is adaptable to just about anything, as is Hancock. Williams, the modal master, got an early start playing with some of the best like Jackie Mclean and Miles, Warren has a kind of pretty sound that's very big, but I could have picked dozens of better bassists than him like Richard Davis, Ron Carter, etc. Dorham got his start with Bird and was, as it is said in the latter liner notes, the uncrowned king of the trumpet, that is before Lee Morgan and Freddie Hubbard came along. This is an incredible album and I don't know what I was thinking when I wrote my previous review. Kenny and co whip out some of the finest compositions ever written by the bossa master, esp "Sao Paulo". Dorham played a suprisingly great role in Andrew Hills "Point of Departure" later which shows he could play free form too. Henderson and Hancock are all over the place on this, should have recorded more together. Elmo Hope hit the nail on the head, Joe is all over the place, but I will say that if you want to hear the Ultimate Joe Henderson, get his "In 'n Out". All in all a great first date for the fantastic Joe Henderson and great for the rest of them too, only on problem,it's too short. Enough yapping, Five Big ovals.
"One more" great session
Reviewer: Jules from Tooting, London
Crossing free jazz players like Henderson and Williams, experimental Hancock and traditional Dorham could have been a recipe for disaster. But what we have here is one of the finest Blue note Albums ever. The title track gets away with its length by pulling exciting tricks throughout its 15 mins+. A master piece we can all afford to buy, but cannot afford to miss
Holy Cow
Reviewer: Elmo Hope from Amsterdam
you people need to be ashame! how can you write anything that is not positive about this album?? this is a crazy session! Joe Henderson is screaming with full energy, Herbie Hancock is running like mad on the piano and going far with the harmonics, kenny Dorham plays beautiful melodic lines, Tony Williams swinging like mad and play free of time, and Butch Warren is giving us some groove. first of all, just to hear all of them together gives them 5 point... but also the meterial is sophisticated and very original...... so, how can you say something negative about this album??
For Joe Henderson
Reviewer: Leeman from Port Angeles Washington
I'll give five notes to Joe for making this session interesting enough. His solos are the best on the album.
Unique or Somethin'
Reviewer: Leeman from Port Angeles Washington
I couldn't say if its good or bad. I like everything on it to some extent but Kenny's solos are a trumpet player soloing without any feeling. To be honest Kenny wasn't the greatest. Miles davis had a better sound without his mute. Kenny can think up great compositions. Bossa's are his specialty. Straight ahead was an attempt to try to write a more "Straight Ahead" tune. It may be straight but not ahead. It is just another melody that you play in the backround when the pianist is soloing, Kenny even mentioned that in the notes. Excuse me if I'm complaining to much.
Una Mas - What is all the fuss about?
Reviewer: jazzman from San Marcos, Calif. San Diego County
I bought this CD, after continually reading how wonderful this it is, and what a masterpiece it is. After repeated listens, I have concluded the experts are dead wrong. "Whistle Stop" is better, but if you take my advice, you will buy Freddie Hubbard's "Open Sesame" and "Best of Freddie Hubbard on Blue Note", and forget about Kenny Dorham. I'm not saying he is not a great player, I like Kenny Dorham. He is a great sideman, but his projects are just not that great. Maybe I'm too picky or maybe Hubbard just spoiled me. This CD is obtuse and flat. It deserves 2 notes. I gave it 2 notes.
what a great trumpeter
Reviewer: woo chang from seoul,south korea
he play his instrument fantastically! this is the greatest trumpet symphony in history.
Herbie keeps it kickin' Kenny solo's are fine
Reviewer: Marijan Bilic from Antwerp, Belgium
Una mas, ore one one more time demands to be listened one more time and again. Nice tempo changes and good Kenny-trumpet solo work.
"play it one more time"
Reviewer: Neeraj Sharma from Watford, Hertfordshire. UK
I find myself playing this album very often. Una Mas the title track has that play it 'one-more-time-feel' about it. WOW!
Outstanding
Reviewer: Len Bryant from Philadelphia, Pa USA
This is an outstanding CD. All of the musicians are topnotch and so is the material. Outstanding.
not that bad
Reviewer: Ryan from Albuquerque
This album is not as horrible as everyone makes it out to be. I mean the guy is no Lee Morgan, Dizzy or Louis Armstrong. BUT If you want Blue Note trumpet records I would try Lee Morgan first.
What are you talkin' about?
Reviewer: Chaz from Cambridge England
This I would consider is one of Dorhams finest master pieces! His solo is extremely creative and imaginative. The other tracks are searching new ideas. A TRUE MUST HAVE!!!!!
UNA MUST!
Reviewer: A.Belle from Flagstaff,Az
When I first heard this CD,my first inclination was to take my baseball bat and smash this sucker.But my calmer side prevailed and I just tossed this CD in a box with all my other useless items,where it is now collecting dust. A total waste of money.
NO MAS
Reviewer: r.l. from cleveland,ohio
kenny fails to deliver on this release. i'm a big kenny dorham fan but this release is not interesting in the least. probably the worst kenny ever did. a very good ballad player you would think he would do more ballads. he does one and it's lacking.
¡Arriba!
Reviewer: El Pichota from Spain
In good spanish,man...!Arriba! This is a grrrreat record!!!
swinging latin beats
Reviewer: Keiran from London, UK.
This is classic bluenote. The standout track being the title tune, "Una Mas". Excellent solos by Joe Henderson and Herbie Hancock. Ariba!
- Jazz - Larry Young
Unity 4978082
Rudy Van Gelder Edition
The album that put Larry Young and Woody Shaw on the jazz map, this exciting and inventive session with Joe Henderson and Elvin Jones. Churning rhythms, challenging ground breaking compositions and brilliant solo work make this album a classic that exerted great, uncredited influence on the next generation of jazz artists. And one of the most requested Blue Note reissues!
- Jazz - Lee Morgan
Search For The New Land 5918962
Rudy Van Gelder Edition
Overshadowed by the success of The Sidewinder, this masterful sextet session of Morgan originals, made just two months later, took years to gain its deserved status as a classic.
- Jazz - Lee Morgan
The Rumproller 5212292
Rudy Van Gelder Edition
Lee Morgan had two albums in the can when "The Sidewinder" became the surprise hit of 1964, making the Top 100 pop album charts. Blue Note brought Lee back into the studio for a follow-up album with Joe Henderson and Billy Higgins reprising their roles. The kick-off funk tune "The Rumproller" was written by Andrew Hill and proved a worthy successor to "The Sidewinder". But Lee's beautiful "Desert Moonlight", in time, became regarded as this album's classic performance. The ballad "The Lady" offers a rare appearance by Lee with muted trumpet. Added to the original album is Wayne Shorter's "Venus Di Mildew", recorded by the same quintet two days earlier.
- Jazz - Lee Morgan
The Sidewinder 4953322
Rudy Van Gelder Edition
The Sidewinder, Lee Morgan's 24-bar blues with an infectious bass line and backbeat, instantly became one of the most popular pieces in modern jazz history. Every track on this classic album is a gem.
- Jazz - Lee Morgan
Lee-Way 5400312
Rudy Van Gelder Edition
This album is unique within Lee Morgan's vast and rich Blue Note discography. With then current employer Art Blakey, band mate Bobby Timmons on piano, Paul Chambers on bass and Jackie McLean on alto saxophone, the trumpeter abandons time constraints and stretches out on four, soulful, hard-bop compositions (the first and the last are by Cal Massey). These hard bop masters are constantly inspired by Blakey's explosive grooves.
- Jazz / Mainstream Jazz - Lou Donaldson
The Natural Soul 5423072
Rudy Van Gelder’s Edition
Editor’s info:
One of the first albums with the great Green-Patton-Dixon rhythm section, this soulful album introduced John Patton’s Funky Mama which remains a staple among blues bands. The extended Sow Belly Blues is sublime Lou.
Soul in a natural flavour
Reviewer: ben weis from israel
The open sound , the space they give each other. Every one has his own thing. yeh.
Sweet sounds without goose liver please
Reviewer: Sid Lafleur from Quebec City, Canada
Lou is smoothe and his band produces the right flavours on this old classic. Yes,i would not hesitate to play this while entertaining my seperatist friends. Even thought they can't locate Cobb County Georgia on Sid's giant map of North America. I believe that jazz keeps the martini industry shaking! I know we in Quebec have a wonderfull Jazz fest in Montreal. Music like Lou's is played and savoured by the downtroden and the corporate pseudo-intellectuals alike. But please,please don't pass me any more of that soupy poutine'. Lou's playing is always gentlemanly and proud. Like a anglo sipping second grade (Pepper)pepsi soda at the local cafe. I salute Mr. Donaldson's great music and have done some midnight creeping myself. Unfortunately though for Sid, i flipped over the garbage can i was standing on and alerted the sweetie i was observing. Too bad because she was a local jazz afficianado as well. I will settle for more of Donaldson and less of the hanky-panky?
Natrual Soul
Reviewer: tevizone mendoza from Yuma, Arizona USA
Funky Mama
NATRUAL SOUL
Reviewer: JOHN BAKER from ENGLAND
LOU AND BIG JOHN AT THEIR BEST, FUNKY MAMA. WHY ARE WE STARVED OF BIG JOHN PATTON ALBUMS. I WOULD OF THOUGHT OF THE GREAT MANS PASSING LAST YEAR.B/N WOULD HAVE MADE AN EFFORT PLEASE GET A GOOD THING GOING.
Grease
Reviewer: compay49 from Brussels - Belgium
Supernatural
asfet mannen!
Reviewer: Tyrese "da eyelid" from Lund, Sweden
grymt å sånt!
phaaaatttt!!!!
Reviewer: pfunk from Chicago
ALLLLLL THAT!!!!
foot stompin' music
Reviewer: Raymond from Chapel Hill, NC
The sound on this album is incredible!! I felt as if I were in the Village Vanguard again listening to Lou lay down the funky grooves. Great stuff, guaranteed to make you smile and stomp around a little!
- Jazz - McCoy Tyner
The Real McCoy 4978072
Rudy Van Gelder Edition
McCoy Tyner forged his sound as a leader on the amazing session with Joe Henderson, Ron Carter and Coltrane bandmate Elvin Jones. All five distinctive compositions have become jazz standards. A perfect record and an essential one too.
Includes extra FRANCIS WOLFF photos
- Jazz / Mainstream Jazz - Miles Davis
Volume One 5326102
Rudy Van Gelder’s Edition
Editor’s info:
Davis's 1952 sextet date with J.J. Johnson and a very young Jackie McLean introduced "Dear Old Stockholm", "Donna" and the trumpeter's classic reading of "Yesterdays". His 1954 quartet date with Horace Silver, Percy Heath and Art Blakey is among the finest early Miles with hip originals and a breath-taking version of "It Never Entered My Mind".
Miles, The Myth, The Man, The Legend
Reviewer: Reggie from Los Angeles, California
This is definitive Miles Davis at his best! Such a shame for people who claim to be Miles Davis fans but they only go as far back as "Bitches Brew" Miles Davis has influenced "all" Trumpet players for that past 40 years including Wynton Marsalis.
Miles Baby! ain't nobody better dan MILES!
Reviewer: Aaron Stinson from Down Town DETROIT BOY!!
dis boy can play like a crazy mother @(&%()#&
DO YOUR HOMEWORK!
Reviewer: joshua allen from columbus, ohio
This album came out as a 10" lp in the early 50's. The artwork on the RVG cd is the original 10" incarnation. When the album was expanded in the mid-50's to a 12" lp the cover changed as well. Your beloved "original" covers are in fact second generation, besides cd's ar a joke. Why even care about artwork when it is a 5 inch square? The music is real good, in case you didn't notice.
Still searching for a great comp of Davis
Reviewer: Richard Everett from San Marcos, Calif. San Diego County
I own quite a few Miles Davis CD's. They were all lacking something, so I made my own CD and burned a few copies for my friends. I am sick and tired of music companies producing music from a historical perspective. I am a jazz fan, not a historian. This is what my "Ultimate Davis" has on it; 1. Time after time 2. Portia 3. Someday my prince will come (with the famous Coltrane tenor sax solo) 4. So What 5. Round Midnight 6. Bye Bye Blackbird 7. Somethin' Else 8. Autumn leaves 9. All Blues. Now why doesn't Bluenote make a Davis CD even half this good? I gave this one 4 chalupas. It's pretty good. Mine is about 25 chalupas and is flat wonderful.
Miles on Blue Note
Reviewer: Flurin Casura from Switzerland
While the sextet session included in this disc is quite conventional, the quartet with Horace Silver, Percy Heath and Art Blakey - Miles' favorite rhythm section of this period and a hell of a, to be sure - is one of the best Miles sessions of the early fifties. And to say something about the covers, too: to really dig the original Reid Miles designs (which are marvellous, of course) you would have to look for the LP-versions anyway, so it is nice to have the original covers again, too.
A Cool Start
Reviewer: Max Lewis from Boston, Ma. USA
Granted it's not his most groundbreaking work but I really enjoy these recordings. The new RVG's sound better than ever. You can really hear Miles laying down the blueprints for his classic "laid back" sound on these sessions. Highly recommended for Miles collectors, or anyone interested in his early sound.
The new RVG reissues are cool, just not the covers
Reviewer: T. Allen Matsumura from Honolulu, Hawaii
I personally love the new RVG editions but i think the choice to not use the original Reid Miles covers is a bad decision. One of the reasons i like the albums that Blue Note produces is their distictive cover art. I am a graphic artist and as a graphic artist i believe that the Reid Miles covers should be preserved. Feedback please: Babazat@aol.com
- Jazz / Mainstream Jazz - Miles Davis
Birth Of The Cool (Rvg Remaster) 5301172
Rudy Van Gelder’s Edition
Editor’s info:
From the moment of their first appearance as 78 rpm singles and 45 rpm "extended-play" recordings on the Capitol label, the twelve performances taped by the Miles Davis Nonet in 1949 and 1950 had a monumental impact on the course of jazz. Given their significant influence on solo and ensemble styles, not to mention the structure and sonority of jazz in the succeeding decades, they have been reissued frequently in the past. Since the first appearance on 12-inch LP in 1957 of most of the individual tracks, they have been known under the title Birth of the Cool. In all of their subsequent incarnations, however, including the first complete LP appearance of all 12 titles in the 1970s and in various later CD collections, they have never possessed the clarity and brilliance revealed in Birth of the Cool (RVG Edition), which is appearing as part of Blue Note's heralded Rudy Van Gelder reissue series.
The sonic improvements resulted from a discovery made by legendary engineer Rudy Van Gelder while he prepared a new edition of Birth of the Cool for Japanese release. As reissue producer Michael Cuscuna explains, "This was the first time that Rudy had worked on these particular recordings, and he was surprised to find that every version subsequent to the original LP had used the 1957 12-inch master. But the original master tapes of each performance still existed, and they revealed significant improvements in sound."
It would be hard to imagine a series of recordings more deserving of the RVG 24-bit to digital remastering treatment. The Davis Nonets introduced a new world of sound, one based upon the Impressionistic advances of the Claude Thornhill Orchestra, with its innovative use of the French horn and tuba in a jazz context, yet scaled down to a leaner, more agile ensemble size that also preserved the fluent responsiveness of the bebop discoveries that Davis himself had helped promulgate as a member of Charlie Parker's quintet. With its compact instrumentation of four brass and two saxophones plus rhythm section, and its unique blend of horns and extensive use of counterpoint, the Nonet revealed a new world of possibilities that the young visionaries in its ranks and many attentive contemporaries would pursue for the next decade and beyond.
As described by key participant Gerry Mulligan in one of the essays included in the CD booklet, the birth of the Miles Davis Nonet took place in the basement apartment of Gil Evans, who was highly respected by musicians at the time (if little known to the public) as the principal arranger for Claude Thornhill. With important input from Mulligan, then a little-known baritone saxophonist; budding composer and pianist John Lewis, who had worked with Parker, Dizzy Gillespie and Lester Young; composer Johnny Carisi; Lee Konitz, star Thornhill soloist and the rare new alto saxophonist who had not been content to simply imitate Parker; and Davis, who took it upon himself to assemble a mid-sized group that would test his friends' new ideas, a band emerged that played one three-week gig at the Royal Roost in New York City in September of 1948.
The experiment might have ended there had Capitol Records producer Walter Rivers not chosen to record the Nonet in three sessions that took place over the space of 14 months. These sessions produced a dozen classic titles. Mulligan arranged six, among them his compositions "Jeru," "Venus De Milo" and "Rocker"; Lewis contributed three more, including versions of Denzil Best's "Move" and the Davis-Bud Powell line "Budo"; Evans added brilliant versions of "Boplicity" (composed by Evans and Davis, though credited to "Cleo Henry") and the ballad "Moon Dreams"; and Carisi added his sinuous blues "Israel." With poised, controlled improvisations by primary soloists Davis, Mulligan, and Konitz; and with vital contributions from an ensemble that on one or more of the recording dates also included jazz giants Lewis, Kenny Clarke, Al Haig, J.J. Johnson, Max Roach and Kai Winding, the Miles Davis Nonet introduced an approach significantly distinct from the swift and overtly virtuosic bebop norm that launched the subsequent "cool" approach that became identified with such West Coast stars as Mulligan, Shorty Rogers and Chet Baker.
Subsequent decades would find Miles Davis at the forefront of further jazz revolutions. The Miles Davis Nonet set the pattern, and the Nonet's legacy, as heard on Birth of the Cool (RVG Edition), has never sounded better.
- Jazz / Mainstream Jazz - Miles Davis
Volume Two 5326112
Rudy Van Gelder’s Edition
Editor’s info:
Art Blakey's drums generate a lot of power on Miles Davis's 1953 sextet session with J. J. Johnson and Jimmy Heath. All but the ballad "I Waited For You" are heard in two takes. The enduring masterpieces of this set are "Tempus Fugit" and "C.T.A.".
tempus fugit worth the price of admission
Reviewer: Butrus Salim from Cambridge, MA
Let's not get hung up on the cover art here; this is first rate Miles; both takes of Tempus Fugit sterling, swinging, edge of sword jazz. Miles's lines tight as can be, and JJ's a force to be reckoned with. This record kicks a**. I like tight graphic design and Reid Miles as much as anyone, but cover doesn't make the record. Check out Tempus Fugit, check out Tempus Fugit.
Great Session
Reviewer: Spencer Ranney from Austin, Texas,USA
And, no matter, what the original cover is, isn't it more about the music, than what the case looks like. At least, that is what I believe loving jazz. I mean what kind of jazz fan are you, not buying a CD just because of the cover. Sounds like crap to me.
blowin it
Reviewer: te dog from santa cruz
what are they thinking with these lame new covers? blasphemy... won't get my money
which is the original?
Reviewer: andy adams from madison, wisconsin
a question: which covers are the original reid miles covers? do the RVG reissues preserve the original art or do the 1988 reissues? i'm unclear, but may buy the RVG reissues if these new records restore the original cover art.
The new RVG reissues are cool, just not the covers
Reviewer: T, Allen Matsumura from Honolulu, Hawaii
I personally love the new RVG editions but i think the choice to not use the original Reid Miles covers is a bad decision. One of the reasons i like the albums that Blue Note produces is their distictive cover art. I am a graphic artist and as a graphic artist i believe that the Reid Miles covers should be preserved. Feedback please: Babazat@aol.com
- Jazz - Ornette Coleman
Live Golden Circle Volume 1 5355182
Rudy Van Gelder’s Edition
Editor’s info:
The Rudy Van Gelder Series consists of classic Blue Note albums that have been newly remastered in 24-bit by original engineer Rudy Van Gelder with state of the art equipment.
In 1962, Ornette Coleman, who'd rocked the jazz world three years earlier, debuted his new trio with classical bassist David Izenson and drummer Charles Moffett, introducing an entirely new sound. Then abruptly he announced his retirement. When he re-emerged two years later, he reformed this unique trio and signed with Blue Note Records. On his first European tour, producer Francis Wolff met the trio in Stockholm and recorded them for two nights at the Golden Circle performing eight new compositions.
The results were issued on two LPs that put Coleman in the forefront of jazz again. Rudy Van Gelder has returned to the original tapes to remaster these gems. In the process, we've added an additional tune and two alternate takes to Volume One and three alternate takes to Volume Two, all never before released.
Don't Miss This!
Reviewer: Dee Dee Dawn from Tehran, Iran
I Can't Say Enough! Smokin' Live Date. This Music Makes Me Dance. Moffett's Brush & Izenon's Bass Are Tops. Ornette Blows Mind(s) As Usual. I've Never Found The 2nd Volume Here.
Wow
Reviewer: Erin from Ames, IA
This is easily some of the best music I've ever heard. It's just damn good.
The trio
Reviewer: Ricky Moore from
There is so much to be said for this album. The tension created through the juxtaposition of complex composition and the simplicity in only having three instruments is especially powerful. The connection between the three musicians is felt throughout. There is a particular rawness to this album. The trio brings jazz to a new level in this album.
I found them!!!!
Reviewer: Rafael Suriano from Buenos Aires, Argentina
yesterday finally i found the two volumes of teh Ornette Coleman trio at teh Golden Circle. I say finally because here in Argentina is very hard now whit the currents times to find these records. I listen to them as soon i get home. Tehy are some of the finest work done by Ornette, and along whit "out to lunch" one of the best avant-garde record edited by Blue Note. One last comment, i buy these records in the vinyl format because it was less expensive and they sound even better this way. Thanks for another great record.
I found them!!!!
Reviewer: Rafael Suriano from Buenos Aires, Argentina
yesterday finally i found the two volumes of teh Ornette Coleman trio at teh Golden Circle. I say finally because here in Argentina is very hard now whit the currents times to find these records. I listen to them as soon i get home. Tehy are some of the finest work done by Ornette, and along whit "out to lunch" one of the best avant-garde record edited by Blue Note. One last comment, i buy these records in the vinyl format because it was less expensive and they sound even better this way. Thanks for another great record.
I wish I could have been there!
Reviewer: Jonathan from New York
I just got this about a week ago. Upn my first listening I liked it better than any other progressive or "avant- garde" jazz recording, even including Out to Lunch and Tony Williams' great debut. Ornette is a fantastic player. Best track, in my opinion, is Doughnuts. I have since bought the second volume of at the Golden Circle, which I don't think is nearly as good. As many of you know Ornette plays violin and trumpet on some tracks. I tell you one thing though, Izzenzon's playing may be superior on the second record
Excellent sounding remastering--great performances
Reviewer: Lon from Austin, TX USA
Well, I disagree with Jersey Joe. . .I think the musical sophistication of Ornette and Eric were exactly consistent with their times and were the key for a new batch of innovators to step up to the plate. Ornette built on blues and the Bird and moved into new territory just as it became available. . . Eric built on Bird and the sound of birds among other things and pointed a way to new expression. That's how I see it at least. This is a very wonderful remastering if the Japanese RVG cds are an indication, and there will be new material between the two volumes. (Curious as to why these are two separate volumes, when there are two cd sets elsewhere in the reissue program of what were once two separate lp volumes!) The performances are very interesting with soloing by all members of the trio that fascinate and please.
FORGOTTEN GENIUS
Reviewer: Jersey Joe from NJ
Ornette Coleman -- forgotten genius. Much of what we call innovation today can be traced back to the likes of Coleman and Dolphy -- holy men whose ideas on music were much too sophisticated for the times they were living in. Kerouac faced similar problems at first. In other terms, it's as if Ornette Coleman walked on the moon YEARS before it ever crossed anyone else's mind to do so. Coleman live ANYWHERE is a treasure, but here he is clearly at a place previously untread upon, walking on the moon again, raining down his sax, teaching us once again not only how to listen to music, but how to see it.
- Jazz - Ornette Coleman
Live Golden Circle Volume 2 5355192
Rudy Van Gelder’s Edition
Editor’s info:
The Rudy Van Gelder Series consists of classic Blue Note albums that have been newly remastered in 24-bit by original engineer Rudy Van Gelder with state of the art equipment.
In 1962, Ornette Coleman, who'd rocked the jazz world three years earlier, debuted his new trio with classical bassist David Izenson and drummer Charles Moffett, introducing an entirely new sound. Then abruptly he announced his retirement. When he re-emerged two years later, he reformed this unique trio and signed with Blue Note Records. On his first European tour, producer Francis Wolff met the trio in Stockholm and recorded them for two nights at the Golden Circle performing eight new compositions.
The results were issued on two LPs that put Coleman in the forefront of jazz again. Rudy Van Gelder has returned to the original tapes to remaster these gems. In the process, we've added an additional tune and two alternate takes to Volume One and three alternate takes to Volume Two, all never before released.
I dig...
Reviewer: Karl A.D. Evangelista from California, USA
If for no other reason than to temper the two relatively negative reviews on the GCV2 page... "At the Golden Circle, Volume 2" was the second Ornette album I ever bought, right after SOJTC and directly prior to the veritable mindblow that was "Skies of America." After all these years, it's still one of my favorites, and could easily pass as one of Ornette's most challenging, ingenious efforts. Everyone gets so hung up on the trumpet/violin thing... to be sure, "Snowflakes and Sunshine" is quite jarring--but with a purpose. I highly doubt that Coleman was/is under any illusions regarding his decidedly unconventional technique on those two instruments... they're simply logical tangents on his quest for the proverbial "sound," sonic variations on his saxophone squiggles and upper-register squeals. It just so happens his saxophone sound is more "in the pocket" (or tonal, for that matter). Nonetheless, the saxophone improvisations on "Volume 2" are remarkable and--in my opinion--among his more engaging work on the Blue Note label. "Antiques" is the same theme that would reappear (however belatedly) on the "Beauty is A Rare Thing" compilation as "I Heard It Over the Radio"... this trio performance is far more oblique, due in no small part to the decisively unconventional rhythmic juxtapositions of Moffett and Izenzon... "The Riddle" is one of Coleman's classic fast swingers, right up there with "Eventually" on SOJTC, among others. Here, the trio proves that it takes a lot more than mind-boggling technique to carry a burnout tune... Ornette's melodic invention is breathless, taunting, almost vicious--a stark contrast to the happy-go-lucky tracks on "Volume 1" (note: take special note of Izenzon's solo... this is why the guy's still in the history books. Shame he couldn't teach the young lions a thing or two about a sense of humor, let alone adventure). However, my favorite track has to be "Morning Song," one of Coleman's most splendid, searingly beautiful ballads. Unlike, say, "Sadness," the atmosphere here is a lot less mournful... rueful, rather. This is the Ornette from "Just For You," the guy who would play on "Soapsuds, Soapsuds" and "Virgin Beauty"... thoughtful, reflective and utterly gorgeous (dig Moffett's little xylophone thing in the middle... that little dissonance toward the end gets me every time). The bonus tracks are pretty good... but come for the coffee, stay for the sugar. One for the ages.
multi instrumentalist?
Reviewer: daniel from ames, USA
yea ornette takes it to the trumpet and violin on this cd.. good date, a bit on the heavy side.. you will have to take a lot of dense and extended solos. if that's your thing you can get through this alright. miles hated ornette's trumpet.. but it sounds like he can hang with the rest of the free jazzers.. miles hated lots of stuff anyways.. the violin playing reminds me of billy bang not as refined and focused though.. gotta be in the mood for this one
December in Sweeden. It was indoors right?
Reviewer: Jonathan from New York
I liked the first volume a lot better. With someone like Freddie Hubbard, and Miles also, around at the same time, I'm not to eager to hear Ornette play trumpet. (His violin playing is more interesting). I will say this, David Izzenzon is fantastic on this record. Particuularly the second track. I hear he only took up bass in the third decade of his life. It should give late- aspiring bassists hope.
- Jazz / Mainstream Jazz - Sonny Clark
Cool Struttin' 4953272
Rudy Van Gelder’s Edition
Editor’s info:
Sonny Clark was ubiquitous at Blue Note sessions and led a handful of great albums of his own along the way. Cool Struttin' has a wonderful after-hours feel, especially on the extended title blues.
Look at the sidemen
Reviewer: Tobee from Germany
I hate Clark to be one of the most underrated piano-players in jazz-history. I really like Cool Struttin, because of it"s versatility. On the one side, Clark can play really relaxin and on the other side, he swings the hell out of "Deep night". It"s a good record to start the day right away, or listen to in the car without gettin" that hectic, driving. And even the rythm-section with Chambers and Jones, parts of the famous Miles Davis quintet, is on top.
Hothouse Of Hard Bop
Reviewer: Wayne Dawson from Melbourne, Australia.
Sonny Clark was a magnet for talent, his compositions a framework for some remarkable blowing. So it is with 'Cool Struttin''. All these tunes pack a punch, the tight heads, dexterous soloing and rhythmic reliability, are all peeled off with athletic ease. The tonal chemistry of the horns is something special. Farmer remains burnished with sensuality, commanding a bell like sonority in the upper register. McLean burns and cuts like a knife, behind which lurks a fulsome soul. The title track is a well recognised classic but 'Blue Minor' is equally up there. Sonny, nimble and iridescent, complements the horns while Philly Joe keeps everyone buoyant. Thanks Rudy you gem!
Classic cool bop
Reviewer: Reggie from Los Angeles, California
Jackie McLean and Art Farmer along with this brilliant rythym section demonstrate masterfully the true essence of bebop.
Royal Flush
Reviewer: Lover from Tehran, Iran
The Group & Sonny Clark Breathe Life To These Titles By Zig-Zaging Around Each Other's Solos & Rhyrhms, Creating Grand Hard Bop. Horn Men Shine. Rhythm Men Smoke. Sonny Is Cookin'. Although They Dedicated One Song To Me & "Cool Struttin'" Is A Wonderful Start, I Always Open This Album With "Blue Minor" :) Get It, You'll Love It!
cookin
Reviewer: rick eckstein from springfield massachusetts
i have always loved this album. after i learned the meleody to blue minor, jackie,s solo just blends right in.you will love yourself for coppin this side.
Real Cool Struttin'
Reviewer: Leeman from Port Angeles Washington.
Sonny Clark, although not the most incredibly gifted pianist, had a tendancy to lead these flawless sessions with the very best in sidemen. The fact that Sonny's playing was simpler meant his sessions were played in a more simpler fashion. Clark cut the tricks and fancy playing and put in tasty straight-ahead jazz which was more effective. Jackie Mclean, who later got much more ferocious, is very laid-back and relaxed, yet he is still hot. Farmer could not have been a better choice, he and Mclean are very distinguishable, much more than bird and diz. And of course, the impeccable rhythmn section of Paul Chambers and Philly Joe Jones, to this day there is only one other trio that is better than this one and that is Tranes(tyner, Garrison, Jones). Five Ovals for the real "Cool Struttin". Also thanks RVG, the bonus tracks are awsome too!
Read everyone else's reviews
Reviewer: Blake from Bellingham, WA
Killing. Everyone, especially players, need this recording. Absolutely burning.
Richard Everett reaponds to HANKMAN.
Reviewer: Richard Everett from San Marcos, Ca
"Cool Struttin'" is just as good as "Sonny's Crib" and so what? On it's own it is a collosal CD and I have been comparing it to the best sessions of all times. I ranked it #13, but it is probably better than that. I absolutely love it. Make it #1. It is certainly one of my favorite CDs of all times. What has anyone heard that's better? Hankman likes Hank Mobley, so he can't be all wrong. "No room for squares" will bitch slap your inner child to China. It's fantastic. By the way, that fabulous trumpet is Art Farmer, and the killer sax is Jackie McLean. Satisfied?
This made my all time 10 best list
Reviewer: Hankman from Fairbanks, Alaska USA
I agree with the last 2 reviewers but I think Richard Everett should give this one another try. It is my number 3, ahead of Sonnys Crib and behind Hank Mobley Roll Call. Number 1 is Hank Mobley No room for squares which kicks everyones butt six ways to sunday. All of Sonny Clarks stuff is top 10. This session makes me glad im alive.
FORMATS
Reviewer: ANDY KING from LONDON U.K.
COME ON GUY'S TELL ME WHERE CAN I BUY THE VINYL REISSUE. I KNOW THEY EXIST BUT WHERE. COME ON BLUE NOTE HELP ME OUT!!!!!!!
This is really great jazz. 5 chalupas
Reviewer: Richard Everett from San Marcos, Calif. San Diego County
I will get Email for this, but as good as this CD is, it didn't quite make my 10 all time best list. No reason really, except that "Sonny's Crib" is perhaps a bit better and a bit more exciting. Read my review of "Sonny's Crib" before you send me hate mail. I love this CD and I love Jackie McLean, Sonny Clark, and especially Art Farmer. These guys are true professionals. Anyone familiar with my published reviews and my on-line Blue note reviews knows how true these statements are. If I had a top 20 list, this CD would rank a solid 12 or 13, only narrowly being beaten out by McCoy Tyner's killer "The Real McCoy" with Joe Henderson, Ron Carter, and Elvin Jones. 5 Chalupas for a great effort and a great CD. AWESOME!!!
great reviewer
Reviewer: Harry Schipper from Winschoten,Holland,Europe
what a great review from Russell Seilhammer ! I agree with every word of it !
Four Decades Later & Still Struttin'
Reviewer: Aluixious Abernathy from Swing Street,NYC
I was about to be married, and borrowed this album on my last night as a single man from my twin brother MATT. He said this would comfort me through the night & ease me into the big day ahead. I really didn't know what to expect??! I knew of Paul Chambers & Philly Joe Jones from the prerequisite Miles Davis listenings, but, being a newbie to jazz at the time, had not really been acquainted with the rest of the personell on this particular date-the leader included. Totally exhausted from my pre wedding day preparations, I fell asleep with the album spinning repeatedly. When I awoke, I recall having a head full of beautiful melodies, & horn lines most notably the achingly distinct voice of the man who would become my main inspiration,on alto, Jackie Mclean. It sounds as if this man has somehow adapted bagpipes to jazz and made them swing. When combined with the lyrical Art Farmer's trumpet this album is simply put BEA U TI FUL!!! From the opening/title track all the way through. Sonny Clark's piano is BUD-informed and just plain joyful to behold. Words can not do this JEWEL any justice. They aren't many adjectives in the english language that can convey anywhere near the pleasure derived from listening to this one over and over again & again. I spin this one once a week with out fail! With Deep Night being a stand out favorite for me, I am sure that anyone can find a favorite on this one, IT'S IMPOSSIBLE NOT TO. You MUST BE either dead or deaf if this doesn't become one of your desert island picks. So,i f you don't own this one (WHY??) get yourself Cool Struttin' down to your local record depot and see what the fuss is about. Why there isn't more praise about this one is beyond any comprehension, once you've heard this, I AM SURE you'll agree!!! GET THIS ONE IMMEDIATELY IF NOT SOONER!!
FLAWLESS HARD BOP
Reviewer: A. DA SILVA from AUSTRALIA
A star studded cast resulting in the creation of a flawless jazz masterpiece. Well as flawless as humanily possible!.
Sonny at his best
Reviewer: Richard Brown from Seattle
This on e of my favorite Sonny Clark albums. Art Farmer is also superb throughout the session. A must for a true jazz fans.
Thanks guys!
Reviewer: Blue Mike from Milwaukee
I bought this album thanks to the reviews on this page, and I'm glad I did--I liked it immediately, and it's improved on repeated hearings. The first cut is up there with the very best. Thanks for the reviews!
Cool Struttin'
Reviewer: Jake Moreland from Sioux City, Iowa
This disc is a must for any jazz enthusiast. The ensemble is so deep in the groove, and they swing hard with what feels like little effort. Art Farmer is a tone machine, and you can hear why he is a big influence on many of today's trumpeters (check out Ryan Kisor). Jackie McClean is masterful. Paul Chambers and Philly Joe Jones lay it down and never let go. Needless to say, Clark is pure sweetness. Every note on this album takes you away, and then makes you want to put the loop on and play it all night. If you're looking for a record that personifies Blue Note's hard bop tradition, look no further. A definite classic!
Cool Struttin'
Reviewer: Mike Lempriere from Seattle, WA, USA
I have a pretty good grounding in the classic BlueNote LPs, but for some inexplicable reason, I've never had any Sonny Clark in my CD collection -- until hearing Cool Struttin'! I'll be ordering this one!
Sonny Clark "Cool Strutin' "
Reviewer: Rory Clark from Melbourne/Australia
A fantastic album! All the musicians on the album are motherfuckers. A must for anyone interested in jazz. The entire band works as a flawless unit creating what only could be called a masterpiece! I give this album a 10 out of 10.
a day in the "son"
Reviewer: russell seilhamer from royal palm beach florida usa
This was one of the first jazz CD's I've ever purchased. Any good instrumental will take you to a different time and place. For me, the scene is New York in the 30's on a cool foggy night and I'm sitting alone in an empty bar. All the lights just illuminate the emptiness in my life,no love to call my own. I start walking home and after a few beers it's OK, thats the essence of those jazzy blues. Sonny Clark captures it well on this CD.
- Jazz / Mainstream Jazz - Sonny Clark
Sonny Clark Trio 5337742
Rudy Van Gelder’s Edition
Editor’s info:
The Rudy Van Gelder Series consists of classic Blue Note albums that have been newly remastered in 24-bit by original engineer Rudy Van Gelder with state of the art equipment.
Considered by many to be this pianist's masterpiece, Clark is out front on this one with no horns to take the focus off his remarkable hard bop style. In Paul Chambers and Philly Joe Jones, both with Miles Davis at the time, the pianist had the greatest rhythm team in jazz at that time.
Clark swings through three standards and the bop classics "Be Bop", "Two Bass Hit" and "Tadd's Delgiht". Three alternate takes are added to the original album.
Ten stars
Reviewer: Jürgen Diehl from Germany, Wolfenbüttel
Sonny Clark! Paul Chambers! Philly Joe Jones! Nearly half a year after this sensational session, Chambers and Jones went in the studio to record the third track "Two bass hit" of this album again, this time with Miles Davis, Coltrane, Cannonball Adderley and Red Garland on "Milestones". But it fell short of this Sonny Clark version of the song. I think, with this album, Sonny Clark makes even Bud Powell, Monk and all the others out there look very old. On the first track, nearly 10 minutes of Be-Pop, Sonny pounds in your head what he has to say. When you think, there can be nothing more to say, Clark goes on, with the second track, the third track, and then Thadd´s Delight, followed by a beautiful version of "Softly as in a morning sunrise". The last track, maybe not up to par with the rest of the session, gives you time to think what great music you heard before. No original is needed, no horn is needed, it is the perfect, the best piano album I know. I can hear it over and over again, and I will do so in the years to come.
Fantastic Trio Piano
Reviewer: Bret Hart from Pewaukee, WI
Highly underrated, Sonny Clark was Alfred Lion's house pianist of choice in the late 50's to his untimely and tragic death in late '63. This set proves Sonny's talent by putting him in front by himself, backed up by THE rhythm section of the time...from "Be-Bop" to "Softly as in a Morning Sunrise"(my favorite version), Clark keeps the groove going, capping it all off with his solo masterpiece "I'll Remeber April". For the Clark uninitiated, this is where to start - Blue Note 1579!
cool-swingin'
Reviewer: pete from sweden
Excellent! This is one of my favourite piano-trio records. Great versions of Tadd's, I didn't know... and especially Softly. I like philly joe's playing on that selection! Buy this one...
Finally available again
Reviewer: Didier Red from The Netherlands, Europe
This has always been a great album. Of course the RVG has a great sound, although the bass 'booms' every now and then and it seems to be more stereo than the earlier release. And my European pressing has an interesting misprint on the cd. It actually says, on the disc, Sonny Cl;ark! Perhaps now the value of my copy rises by the minute. But besides all that it's good to know that you can just hop into a recordshop and get this one again! Personally, I like all of Clark's earlier Blue Notes, but if you don't know him yet, go get yourself this one and listen to those three grandmasters kick ass!
- Jazz - Sonny Rollins
A Night At The Village Vanguard Vol. 2 4997952- Jazz -
Sonny Rollins
Volume 1 5917242
Rudy Van Gelder Edition
Sonny Rollins was still with Max Roach's quintet when he made his auspicious Blue Note debut, which includes the classic "Decision".
- Jazz - Sonny Rollins
Volume 2 4978092
Rudy Van Gelder Edition
J.J. Johnson shared the front line with this tenor master for an exceptional session that features a unique reworking of "Poor Butterfly" and a great original "Why Don't I." Horace Silver is the pianist, but Thelonious Monk replaces him on "Reflections" and both pianists alternate throughout a stunning version of "Misterioso."
- Jazz - Thelonious Monk
Genius of Modern Music vol.1 5321382E
Rudy Van Gelder Edition
Some of the most original, influential and perfect modern jazz ever recorded. Monk introduced his greatest and most unique compositions in these early years like "Ruby My Dear", "Well You Needn't" and "'Round Midnight".
- Jazz - Thelonious Monk
Genius of Modern Music 5321392E
Rudy Van Gelder Edition
Monk debuted some of his most complex masterpieces like "Criss Cross", "Four In One" and "Skippy" as well as classics like "Straight No Chaser" and "Ask Me Now" on his two final Blue Note sessions which are present here in complete form. The July 23, 1951 date features Sahib Shihab and Milt Jackson. The May 20, 1952 date has the unique front line of Kenny Dorham, Lou Donaldson and Lucky Thompson.
- Jazz - Tony Williams
Life Time 4990042
Rudy Van Gelder Edition
When Jackie McLean brought the 17-year-old Tony Williams to New York, the startlingly original and mature drummer immediately became a Blue Note regular, making his debut album a year later. This ambitious masterpiece introduced Sam Rivers to the jazz world and featured an innovative percussion piece with Herbie Hancock and Bobby Hutcherson.
- Jazz - Wayne Shorter
All Seeing Eye 5245432
Rudy Van Gelder Edition
This rich, darkly textured septet session with Freddie Hubbard, James Spaulding and Herbie Hancock features some of Shorter's most powerful writing and arranging. Ron Carter and Joe Chambers drive the solotists to fiery heights.
- Jazz - Wayne Shorter
Ju Ju 4990052
Rudy Van Gelder Edition
One of the most exciting and innovative voices in modem jazz, Wayne Shorter was in his final weeks with Art Blakey's Jazz Messengers before joining Miles Davis when he recorded this exceptional album with John Coltrane's Rolls Royce rhythm section. His angular improvisations and unique compositions take a left turn at every opportunity, but Shorter makes it all work magnificently.
- Jazz - Wayne Shorter
Speak No Evile 4990012
Rudy Van Gelder Edition
On his third date for Blue Note within a year, Wayne Shorter changed up the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag despite his highly original and unusual compositions. Here, with only Jones remaining and his band mates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board, with Freddie Hubbard filling out the horn section, Shorter at last came into his own and caused a major reappraisal of his earlier work. The odd harmonic frameworks used to compose "Fee-Fi-Fo-Fum," On the title track, with it's post-bop-oriented melodic line strewn across a wide chromatic palette of minors and Hancock's piano pushing through a contrapuntal set of semi-quavers, the avant-garde meets the hard bop of the '50s head on and everybody wins. The CD reissue adds a fine alternate take of "Cadaverous Dance." This is the perfect Wayne Shorter album.