★Blue Note
A New Perspective
"I mean this album seriously. Because of my own background, I've always wanted to write an entire album of spiritual-like pieces. The most accurate way I can describe what we were all trying to do is that this is a modern hymnal. In an earlier period, the New Orleans jazzmen would often play religious music for exactly what it was - but with their own jazz textures and techniques added. Now, as modern jazzmen, we're also approaching this tradition with respect and great pleasure." - Donald Byrd
San Francisco
San Francisco is an album by jazz vibraphonist Bobby Hutcherson and saxophonist Harold Land, released on the Blue Note label in May 1971. The album features a shift away from the usual hard bop-post-bop style pursued previously by Hutcherson and Land, and shifts towards jazz fusion.
Destination... Out!
"Of all of McLean's Blue Note dates, so many of which are classic jazz recordings, Destination Out! stands as the one that reveals the true soulfulness and complexity of his writing, arranging, and 'singing' voice." - All Music
Point Of Departure
Pure Virgin Vinyl, 180 Gram, Audiophile Grade, Limited Edition. Alfred Lion and Max Margulis established the Blue Note label in 1939, with photographer Francis Wolff becoming involved shortly afterwards. The caliber of the musicians that recorded for Blue Note coupled with its stylized cover designs has made it one of the most legendary jazz labels of all time. From the dozens of classic albums produced by the Blue Note label, our collection presents some of the most outstanding titles. They hav…
Extensions
McCoy Tyner looked towards Africa on his stunning 1970 album Extensions, a far-reaching exploration of Black identity that marked the masterful pianist’s fifth recording for Blue Note Records. After leaving John Coltrane’s band Tyner had moved from Impulse to Blue Note and made his enduring post-bop classic The Real McCoy in 1967. In the following years Tyner steadily expanded his musical scope: writing for a 9-piece ensemble on Tender Moments, exploring the textures of a piano-vibes led quartet…
Schizophrenia
"Wayne Shorter’s Schizophrenia found the legendary saxophonist at the pinnacle of post-bop with a sextet of like-minded musical explorers including James Spaulding, Curtis Fuller, Herbie Hancock, Ron Carter & Joe Chambers performing Shorter originals like ‘Tom Thumb’, ‘Go’, and ‘Miyako’. Recorded on March 10, 1967, at Van Gelder Studios, Englewood Cliffs, New Jersey." - HHV
Demon's Dance
Demon's Dance is an album by American saxophonist Jackie McLean recorded in 1967 for Blue Note, but not released until 1970. It features McLean in a quintet with trumpeter Woody Shaw, pianist LaMont Johnson, bassist Scotty Holt and drummer Jack DeJohnette.
"The record retreats a bit from McLean's nearly free playing on New and Old Gospel and 'Bout Soul, instead concentrating on angular, modal avant bop with more structured chord progressions... While Demon's Dance didn't quite push McLean's soun…
Electric Byrd
Considered by some to be trumpeter Donald Byrd's last worthwhile jazz recording, Electric Byrd is a high-flying relic from 1970. This album can be understood as Byrd's formidable response to the musical challenges set down by trumpet-rival Miles Davis with his epic Bitches Brew recordings from a year earlier. Clearly Miles is the ghost presence here, with distinct echoes of his sound permeating the vibe of this exploratory set. Byrd demonstrates on his three originals that he, too, was a force t…
Blue Spirits
The prodigious trumpeter Freddie Hubbard debuted on Blue Note in 1960 and produced an astounding run of recordings over the first half of the decade that culminated with Blue Spirits, which was the last of his 1960s studio albums for the label. This bluesy and spirited album presented five evocative Hubbard originals, each of which was given a richly textured arrangement for an ensemble that included a dynamic four-horn lineup. Drawn from two different sessions, the first date produced the grati…
Where Is Brooklyn?
Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal. Blue Note founders Alfred Lion and Francis Wolff had open ears and open minds, as they proved time and time again through the early-1960s as they documented some of the most adventurous players of the modern jazz scene like Andrew Hill, Eric Dolphy, and Tony Williams. But it wasn’t until they brought Ornette Coleman and Don Cherry to Blue Note in 1965 that t…
Live (Cookin' with Blue Note at Montreaux)
*Blue vinyl limited edition* In 1973 the Blue Note Records label landed at the Montreux Jazz Festival, showcasing some of the showcasing some of the top artists of those years under the banner of the soulful and muscular jazz of which the blue label was then the standard-bearer. Muscular jazz of which the blue label was then the standard-bearer. This resulted in several albums entitled Live: Cookin' with Blue Note at Montreux (by Bobby Hutcherson, Ronnie Foster, Bobbi Humphrey, Marlena Shaw), bu…
Adam's Apple
It is unclear whether it was Wayne Shorter’s initial intention to do anything particularly ambitious during the two visits to Rudy Van Gelder’s studio in February 1966 that produced Adam’s Apple. Certainly, neither the repertoire—five recently composed Shorter tunes in AABA format and “502 Blues,” by pianist Jimmy Rowles, a hard drinker, as Shorter was at the time (the subtitle denotes the police code for drinking and driving)—nor the treatments contain the radical originality of the five pieces…
Unity
'On Unity, jazz organist Larry Young began to display some of the angular drive that made him a natural for the jazz-rock explosion to come barely four years later. While about as far from the groove jazz of Jimmy Smith as you could get, Young hadn't made the complete leap into freeform jazz-rock either. Here he finds himself in very distinguished company: drummer Elvin Jones, trumpeter Woody Shaw, and saxman Joe Henderson. Young was clearly taken by the explorations of saxophonists Coleman and …
Round Trip: Ornette Coleman On Blue Note
Iconoclastic saxophonist and composer Ornette Coleman shook the jazz world when he arrived at the Five Spot Café in New York City in 1959 and began his run of seminal albums on Atlantic that laid the foundation for the free jazz movement to come. After a period of disillusionment during which he withdrew from public music making, Coleman re-emerged on Blue Note in 1966 and began writing an intriguing new chapter of his legendary career. The boxset Round Trip: Ornette Coleman On Blue Note presen…
Smoke Stack
On his second Blue Note album Smoke Stack, pianist and composer Andrew Hill used an unusual line-up of two bassists (Richard Davis and Eddie Khan) along with the masterful Roy Haynes on drums. Blue Note founder Alfred Lion considered Hill to have as distinct and important a compositional voice as Thelonious Monk, and the seven Hill compositions that the quartet explore here contain all the rare beauty to be found in his music. Designer Reid Miles photographed Hill himself for the striking album …
The Rumproller
After trumpeter Lee Morgan set the music world on fire with the runaway success of his hit soul-jazz single “The Sidewinder” in 1964, many artists tried to duplicate his triumphant feat in search of another boogaloo sensation. Even Morgan himself cooked up funky follow-ups using “The Sidewinder” recipe including “The Rumproller,” which was recorded the next year. Beyond the groovy title tune (which was written by Andrew Hill) the quintet featuring Joe Henderson on tenor saxophone, Ronnie Mathews…
Introducing Johnny Griffin
Johnny Griffin had been kicking around in R&B bands for years before his Blue Note debut in 1956. And what was "introduced" was a tenor saxophonist with a fresh sound, a warm, soulful style and the fastest technique in jazz. He moves from lyrical ballads to blistering tempos with ease. Within two years, Griff would become one of the leading tenor saxophonists in jazz as a member of Thelonious Monk's quartet.
In 'N Out
Recorded in April 1964, In ‘N Out falls square in the middle of the formidable run of five classic Blue Note albums that launched tenor saxophonist Joe Henderson’s legendary career. The line-up featured the transcendent frontline of Henderson and trumpeter Kenny Dorham along with a powerful rhythm section with pianist McCoy Tyner, bassist Richard Davis, and drummer Elvin Jones. The music charted expansive post-bop territory on three Henderson’s originals (“In ‘N Out” “Punjab” “Serenity”) and two…
Mr. Jones
After his six years with the seminal John Coltrane Quartet, the mighty drummer Elvin Jones signed with Blue Note Records in 1968 and made a series of 10 fantastic albums including 1972’s Mr. Jones, produced by Francis Wolff and George Butler, and featuring saxophonists Dave Liebman, Steve Grossman, and Pepper Adams, Thad Jones on flugelhorn, pianist Jan Hammer, bassist Gene Perla, and percussionists Carlos “Patato” Valdes, Frank Ippolito, and Albert Duffy. The music delves into expansive post-bo…
Doin' Allright
Though he first recorded in the late-1940s, Dexter Gordon’s Blue Note debut Doin’ Allright—recorded and released in 1961—marked a rebirth for the great tenor saxophonist after a decade in which drug addiction and legal troubles limited his output. But his Blue Note years put him back on top with a run of essential albums that stand as classics of the jazz canon. Doin’ Allright featured a top flight quintet with trumpeter Freddie Hubbard, pianist Horace Parlan, bassist George Tucker, and drummer …