Alto saxophonist Jackie McLean’s 1960s output ran the gamut from hard bop to the avant-garde with his 1964 post-bop dates It’s Time! and Action splitting the difference. Trumpeter Charles Tolliver had appeared alongside McLean in the horn frontline on It’s Time! and returned once again for Action the next month, with McLean opting for Bobby Hutcherson’s vibraphone in place of piano, as well as Cecil McBee on bass, and Billy Higgins on drums. The albums leaps out of the gate with McLean’s searing title track followed by two pensive Tolliver originals: “Plight” and “Wrong Handle.” On a highly original version of the standard “I Hear a Rhapsody” the melody is answered by discordant interjections from the horns before the album comes to a close with McLean’s grooving minor key piece “Hootnan.”

Blue Note Tone Poet Series

The Tone Poet Audiophile Vinyl Reissue Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley, a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels. Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180g audiophile LP pressings by Record Technology Inc. Every aspect of these Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180g vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.

Tracklist:

A1: Action

A2: Plight

B1: Hootnan

B2: I Hear A Rhapsody

B3: Wrong Handle

Following sideman appearances with pianist Horace Parlan in the early 1960s, Booker Ervin cut two stellar Blue Note records as a leader in 1968 including Tex Book Tenor which had to wait nearly 40 years until 2005 for its first standalone release. With a sleek post-bop quintet featuring trumpeter Woody Shaw, pianist Kenny Barron, bassist Jan Arnet, and drummer Billy Higgins, the Texas-born saxophonist slices through a set of compelling bandmember originals including Barron’s sinuous tune “Gichi” and Shaw’s lilting waltz “In a Capricornian Way,” as well as Ervin’s lovely ballad “Lynn’s Tune” and the hard-swinging “Den Tex,” named for his hometown of Denison.

Blue Note Tone Poet Series

The Tone Poet Audiophile Vinyl Reissue Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley, a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels. Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180g audiophile LP pressings by Record Technology Inc. Every aspect of these Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180g vinyl at Record Technology Inc. (RTI), and packaged in a deluxe tip-on jacket.

Tracklist:

A1: Gichi

A2: Den Tex

A3: In A Capricornian Way

B1: Lynn's Tune

B2: 204

Auf seinem neuen Blue-Note-Album bleibt Gitarrenvirtuose Julian Lage seinem ganz eigenen musikalischen Stil treu, arbeitet aber das erste Mal mit Produzent Joe Henry (Meshell Ndegeocello, Elvis Costello, Solomon Burke, Allen Toussaint u.v.a.) zusammen.

Als Joe Henry Lages Songs zum ersten Mal in Rohform hörte, war er von der Herausforderung fasziniert, Lages Improvisationskunst zu fördern und gleichzeitig die Stärke seiner Songs herauszuarbeiten. „Speak To Me“ präsentiert Julian Lage in unterschiedlichen Besetzungen, Solo-Akustisch, im Duo, im gewohnten Trio mit Bassist Jorge Roeder und Schlagzeuger Dave King, sowie in einem größeren Ensemble mit Keyboards (Kris Davis und Patrick Warren) und Holzbläsern (Levon Henry).

Lages viertes Werk für Blue Note entstand in einer besonders kreativen Phase, in der er u.a. Teil von Charles Lloyds „Trio of Trios“-Projekt war und mit Terri Lynn Carrington, John Zorn und Cautious Clay zu hören war.

- 180g

Saxofonistin Melissa Aldana lässt ihrem GRAMMY-nominierten Blue Note-Debüt „12 Stars“ (2022) jetzt das Album „Echoes of the Inner Prophet“ folgen, eine spirituelle Modern-Jazz-Reise im Quintett mit Lage Lund an der Gitarre, Fabian Almazan am Klavier, Pablo Menares am Bass und Kush Abadey am Schlagzeug. Das von Aldana und Lund gemeinsam produzierte Album beinhaltet auch sechs neue Stücke aus der Feder von Aldana.

Wenn Vibraphonist Bobby Hutcherson mit Pianist Herbie Hancock ins Tonstudio ging, konnte man stets sicher sein, dass dabei ein wirkliches musikalisches Happening zustande kommen würde. Für das vielversprechend betitelte Album “Happenings” taten sie sich 1967 mit dem Bassisten Bob Cranshaw und Schlagzeuger Joe Chambers zusammen. Auf dem Programm standen sechs Originale aus der Feder von Hutcherson und Hancocks “Maiden Voyage”. Besonders abenteuerlich geriet dabei die Schlussnummer “The Omen”, für die Hutcherson mit Chambers die Plätze tauschte.

Guitarist Bill Frisell has always projected an orchestral scope through his remarkable sense of harmony, a unique gift for melodies that remain with you long after a performance, and a keen feel for how dynamic range can be used to convey emotion. But on his new double album Orchestras he makes those symphonic evocations a reality.

Produced by Lee Townsend, Orchestras documents two inspired concert hall engagements arranged by Michael Gibbs for Frisell’s trio with bassist Thomas Morgan and drummer Rudy Royston: LP1 featuring the Brussels Philharmonic, conducted by Alexander Hanson; and LP2 with the Umbria Jazz Orchestra, under the musical direction of Manuele Morbidini. Gibbs’ sweeping, singular orchestrations, with shades of Gil Evans and landmark film scores, move nimbly within and around the trio’s telepathic rapport, and Frisell’s shimmering trademark tone melds gorgeously with strings and brass.

The roots of this agility can be found in Frisell’s deep relationship with Gibbs, among the most ingenious composer-arrangers in jazz history, whose visionary writing opened new pathways for modern jazz and for jazz’s ability to pull from adventurous rock and pop. Or, as Frisell describes his now 86-year-old lodestar: “a hero, teacher, mentor, friend, imaginator, instigator, door opener, uplifter, positive thinker, enthusiastic harmonizer.”

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog, von Kevin Gray von den Original- Masterbändern gemastert, bei Optimal auf 180g-Vinyl gepresst. LPs im Single-Sleeve-Cover.

Nachdem Herbie Hancock zwischen 1962 und 1965 seine ersten fünf wegweisenden Soloalben für Blue Note eingespielt hatte, richtete er seinen Fokus eine Zeit lang auf die Arbeit im Miles Davis Quintet und das Komponieren von Filmmusik. Erst 1968 legte er bei Blue Note sein sechstes Soloalbum vor. Mit “Speak Like A Child”, eingespielt mit Bassist Ron Carter und Schlagzeuger Mickey Roker (für eine Nummer um ein Bläsertrio verstärkt), knüpfte er laut eigener Aussage “hinsichtlich der Verwendung einfacher, singbarer Melodien” an den Vorgänger “Maiden Voyage” an. “Ich habe seit langem versucht, an meinem Swing zu arbeiten”, meinte er damals. “Und von allen Alben, die ich gemacht habe, ist dies das swingendste.”

The Saxophone Colossus Sonny Rollins had already recorded three Blue Note studio dates for Alfred Lion—Sonny Rollins, Sonny Rollins, Vol. 2, and Newk’s Time—by the time he walked down the stairs of the Village Vanguard on November 3, 1957 to record his first-ever live album, as well as the first-ever live album to be recorded at the iconic New York City jazz club: A Night at the Village Vanguard. Rollins’ tour-de-force live trio album was predominantly captured at the evening set featuring Wilbur Ware on bass and Elvin Jones on drums with two pieces coming from the afternoon set featuring Donald Bailey on bass and Pete La Roca on drums.

This expanded 3-LP Tone Poet Vinyl Edition of A Night at the Village Vanguard: The Complete Masters marks the first time Rollins’ complete recorded performances from the Vanguard are available in a single vinyl package. Produced for release by Joe Harley, the vinyl is all-analog and cut directly from Rudy Van Gelder’s never-before-used original 7.5ips master tapes by Kevin Gray. Pressed on 180g vinyl at RTI, the three LPs come packaged in a deluxe tip-on trifold jacket which includes a booklet with never-before-seen photos by Francis Wolff; insightful essays by esteemed critics Nate Chinen and Bob Blumenthal; an excerpt from Aidan Levy’s authoritative Rollins biography Saxophone Colossus which provides a riveting behind-the-scenes account of the volatile circumstances surrounding the recording; and a fascinating new interview with Rollins himself reflecting upon the album in conversation with Blue Note President Don Was.

Tracklist:

A1: Introduction

A2: Old Devil Moon

A3: Softly As In A Morning Sunrise

A4: Striver’s Row B1: Sonnymoon For Two

B2: A Night In Tunisia

B3: I Can’t Get Started

C1: A Night In Tunisia (Evening Take)

C2: I’ve Got You Under My Skin

D1: Softly As In A Morning Sunrise (Alternate Take)

D2: What Is This Thing Called Love

E1: All The Things You Are

E2: Introduction

E3: Woody ‘N You

E4: Four

F1: I’ll Remember April

F2: Get Happy

F3: Get Happy (Short Version)

Recorded in May 1963, Silver’s Serenade was the last in a fantastic run of albums that pianist Horace Silver would make with the most celebrated line-up of his Quintet featuring Blue Mitchell on trumpet, Junior Cook on tenor saxophone, Gene Taylor on bass, and Roy Brooks on drums. The core of the band had been together since 1959 and recorded hard bop classics like Finger Poppin’ and Blowin’ the Blues Away, with Brooks joining in 1960 on Horace-Scope.

The program on Silver’s Serenade consists of five Silver tunes that epitomize his exceptional compositional style: captivating melodies, sophisticated harmonies, and intricate rhythmic inventions with a soulful and unerring sense of swing at the core. From the relaxed groove of the opening title track to the hard-charging finale “Nineteen Bars” the Quintet delivers their swan song with style.

Blue Note Tone Poet Series

The Tone Poet Audiophile Vinyl Reissue Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley, a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels. Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180g audiophile LP pressings by Record Technology Inc. Every aspect of these Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray (Cohearent Audio) from the original analog master tapes, pressed on 180g vinyl at Record Technology Inc. (RTI), and packaged in a deluxe gatefold tip-on jacket.

Tracklist:

A1: Silver's Serenade

A2: Let's Get To The Nitty Gritty

B1: Sweet Sweetie Dee

B2: The Dragon Lady

B3: Nineteen Bars