Catalog Number MMBST-84029
Release Date: December 2007

Art Blakey - Big Beat  

Art Blakey was one of the greatest of all jazz drummers, a masterful talent scout and the inspiring leader of the Jazz Messengers. For 35 years (1955-90), the Jazz Messengers featured brilliant young talent who were pushed by Blakey to write new music and play at their very best. One certainly could not coast with Blakey’s explosive drumming constantly egging on the players. The who’s who of jazz passed through Blakey’s band for several generations, with everyone from Freddie Hubbard and Wynton Marsalis to Benny Golson and Horace Silver benefiting from the hard-swinging experience. But few lineups could compete with the 1960 edition of the Jazz Messengers featured on The Big Beat. Blakey, the “old man” of the band at 30, is joined by bassist Jymie Merritt and three brilliant stylists who were not only exciting soloists but very skilled songwriters: trumpeter Lee Morgan, tenor-saxophonist Wayne Shorter and pianist Bobby Timmons. The Big Beat introduces Timmons’ “Dat Dere” (which practically defines soul jazz) and Shorter’s “Lester Left Town” (a tribute to Lester Young) and includes an inventive version of “It’s Only A Paper Moon” along with a few other lesser-known but colorful pieces. This is hard bop at its finest from one of the most immortal jazz groups of all time.

Catalog Number MMBST-84043
Release Date: December 2007

Horace Parlan - Speakin' My Piece

Like Django Reinhardt, Horace Parlan did the impossible and turned a disability into an advantage. Stricken with polio as a youth that left him with a partially paralyzed right hand. Parlan became a major jazz pianist who developed a highly original rhythmic style. By the time he recorded the classic Speakin’ My Piece in 1960, he had convinced Charles Mingus (who hired him in 1957) that he was one of the most soulful pianists on the scene. At 29, Parlan in 1960 was a member of Lou Donaldson’s group and recording regularly as a leader for Blue Note. Speakin’ My Piece was Parlan’s first album with horns, teaming his trio with the Turrentine Brothers. Tenor-saxophonist Stanley Turrentine already had his very recognizable soulful style together while trumpeter Tommy Turrentine adds bebop fire to the performances. The music that the group plays, catchy originals including Parlan’s most famous composition, “Wadin,’” is swinging and sophisticated but also bluesy, greasy and overflowing with soul. While Horace Silver may have been thought of as the king of funky jazz, another Horace, one named Parlan, was making quite a bit of noise of his own. Speakin’ My Piece, which has superb sound, is essential.

Catalog Number MMBST-84059
Release Date: February 2008

Kenny Drew - Undercurrent

Kenny Drew was an underrated master of bebop. A brilliant pianist who started with the example of Bud Powell and then developed his own sound within the style, in the '50s Drew worked with the likes of Coleman Hawkins, Lester Young, Charlie Parker, Buddy DeFranco, Dinah Washington and Art Blakey. By 1960 when he recorded Undercurrent, Drew had already led ten albums of his own, mostly with duos and trios. Oddly enough he only had the opportunity to lead two albums in his life for Blue Note, an early effort from 1953 and the classic Undercurrent. Matched in a quintet with the young firebrand trumpeter Freddie Hubbard and the always-stimulating tenor-saxophonist Hank Mobley, the 32-year old pianist was ready to truly make his mark. All six compositions are his, and in his accompaniment of the passionate horn men and in his soulful solos, Drew shows that he was one of the major hard bop stylists. He would not make another album as a leader until 1973, nine years after he permanently moved to Europe, but Kenny Drew’s playing on Undercurrent, a superb and very well-recorded Blue Note album that is arguably his finest work, is timeless.

Catalog Number MMBST-84012
Release Date: February 2008

Lou Donaldson - LD+3

The Three Sounds were a very popular group in the late 1950s/early ‘60s and for good reason. Pianist Gene Harris, bassist Andy Simpkins and drummer Bill Dowdy always knew how to lay down an irresistible groove, they infused every song they played with a heavy dose of the blues and they could outswing any combo while never being stingy with the soul. The same could be said for altoist Lou Donaldson. Influenced by Charlie Parker but a bluesier player, Donaldson in the 1950s held his own on sessions with Clifford Brown, Thelonious Monk and Jimmy Smith while gaining a strong following with his series of Blue Note recordings. LD + 3 is a very special recording from 1959 featuring Donaldson and the Three Sounds really inspiring and pushing each other. Starting with a passionate version of “Three Little Words,” they dig into such bop classics as “Just Friends” and “Confirmation,” playing with plenty of heat. The mixture of bebop fury with soul makes this a true Blue Note milestone.

Catalog Number MMBST-84031
Release Date: April 2008

Hank Mobley - Soul Station

If the title of "Mr. Blue Note" had been given out to a performer, tenor-saxophonist Hank Mobley would have been its recipient. Mobley's smooth tone and style defined the hard bop era. He put plenty of emotion and intensity into every note he played. During 1955-70, Blue Note's greatest years, Mobley led 25 Blue Note albums and appeared as a sideman on many others. Soul Station, a quartet gem from 1960, is unusual for Hank in that Mobley is the only horn, heading a group that includes pianist Wynton Kelly, bassist Paul Chambers and drummer Art Blakey; needless to say, a stellar rhythm section! This album features Hank Mobley at the peak of his powers, taking lengthy solos full of passion and drive. His four originals include his most famous composition, "This I Dig Of You”, which he squeezes for every ounce of its expressive power. Hank plays with heartbreaking lyricism on "If I Should Lose You". If proof were ever needed of Hank Mobley's greatness, Soul Station is perfect evidence.

Catalog Number MMBST-84037
Release Date: April 2008

Horace Parlan - Us Three

Us Three, featuring pianist Horace Parlan, bassist George Tucker and drummer Al Harewood, is one of Blue Note's greatest trio albums. The piano-bass-drums trio has long been the most compact of all jazz combos, a complete orchestra with just three pieces. Some trios have been completely dominated by its pianist including the Oscar Peterson and Art Tatum Trios. The trio on Us Three is a bit different for it features three superior jazz men who constantly play off of each other, communicating immediately and telepathically in sensitive yet funky interactions. Horace Parlan, already well known at 29 and a member of the Lou Donaldson Quartet, was perfect for the trio format in 1960. His soulful chordal style matches very well with the subtle contributions of George Tucker and Al Harewood. There are some very memorable originals and the trio makes some superior standards sound as if they were written for them. The members of "Us Three" seem to think as one and the resulting music, which has sonics never before realized, is fantastic.

Catalog Number MMBST-84049
Release Date: May 2008

Art Blakey - A Night in Tunisia

Art Blakey was, without doubt, one of the most explosive and rock-solid swinging drummers of all time. He also is one of the finest bandleaders and discoverers of new talent the music has ever known. On the title cut of 1960’s A Night in Tunisia, Art is at his most passionate, starting off with a solo full of polyrhythms, color and fire, nearly primal in its intensity. The word “fire” can easily apply to this version of the Jazz Messengers, featuring the blistering trumpet of Lee Morgan, the highly original tenor-saxophonist Wayne Shorter, the funky pianist Bobby Timmons and the always-reliable bassist Jymie Merritt. In addition to their remarkable instrumental prowess, Morgan, Shorter and Timmons were skilled songwriters. Each contributes a song or two this classic set, including Timmons’ “So Tired.” However, it is the 11-minute version of Dizzy Gillespie’s “A Night in Tunisia,” given arguably its greatest recording, that really makes this album a transcendent jazz listening experience for the ages.

Catalog Number MMBST-84067
Release Date: May 2008

Jackie McLean - Bluesnik

Jackie McLean's slightly acidic tone on alto can be instantly identified. He perfectly symbolizes the intensity, passion, excitement and urgency of New York in the 1960s. Born in 1932 and part of the musical generation that matured in the shadow of Charlie Parker, McLean served his apprenticeship at the very top, recording with the likes of Miles Davis, Charles Mingus and Art Blakey. However, Jackie McLean is best known for a brilliant series of Blue Note albums recorded from 1959-67. Bluesnik is, on the surface, one of McLean's most accessible recordings, since the six songs are all blues-based. However, McLean remains quite explorative here, clearly inspired by his excellent sidemen (trumpeter Freddie Hubbard, pianist Kenny Drew, bassist Doug Watkins, and drummer Pete La Roca). McLean stretches himself, showing every side of the blues. The results are exceptional to say the least. One listen to Bluesnik tells you that this is one of Jackie McLean's masterpiece recordings. Engineer Rudy Van Gelder was up to the challenge of this fine session, getting all of this passionate soul on tape with exceptional fidelity. Bluesnik is essential.

Catalog Number MMBST-84041
Release Date: July 2008

Tina Brooks - True Blue

Tina Brooks’ star burned with intense brightness before disappearing in the same tragic manner of too many other bop players of the time. Many jazz fans missed Tina Brooks’ recordings, the best of which were extraordinary by any measure. A soulful hard bop tenor-saxophonist with a sound of his own, Brooks (1932-74) had a brief life. Most of his better known recordings as a leader and sideman took place during a four year period from 1958-61. Unsung at the time, Brooks is now considered a true giant of the art. Brooks’ passionate and full sound and forward-looking style, along with his exceptional compositional gifts, combined to make him a powerful force. True Blue has become one of the most sought-after Blue Notes of all time. True Blue, along with the LP Back To The Tracks, contains most of Tina Brooks finest moments on record. Recorded in June of 1960, True Blue showcases Brooks along with the young firebrand trumpeter Freddie Hubbard in a set of highly inventive originals. Driven by an all-star rhythm section, True Blue is exhibit No. 1 for proof of Tina Brooks’ majestic sound and soulful writing prowess. For many aficionados of the Blue Note label, Tina Brooks’ True Blue is the very essence of the Blue Note sound and feel.

Catalog Number MMBST-84220
Release Date: July 2008

Horace Silver- The Cape Verdean Blues

Horace Silver, the influential hard bop/soul jazz pianist, songwriter and bandleader, was riding high in 1965. His “Song for My Father” had become a hit, he had put together a new and brilliant quintet, and he had the opportunity to use the masterful trombonist J.J. Johnson as a guest on his new album for Blue Note Records. One the resulting album, The Cape Verdean Blues, Johnson joins one of Silver’s greatest bands, a group boasting two brilliant new stars..... tenor saxophonist Joe Henderson and the young trumpeter Woody Shaw. Henderson and Shaw push Silver to take some of his most forward looking solos, and the pianist’s compositions in turn push the soloists to think melodically and play with deep soul. “The Cape Verdean Blues” is a tribute to the West African homeland of Silver’s father. “Pretty Eyes” was Silvers’ first original waltz. “Nutville” is both complex and uniquely catchy. The Cape Verdean Blues is simply one of the most inspired sessions of Horace Silver’s long and outstanding career. Add the superb fidelity of this recording and you have an irresistible addition to the Horace Silver discography.

Catalog Number MMBST-84144
Release Date: September 2008

Johnny Coles - Little Johnny C

Trumpeter Johnny Coles, a distinctive and passionate player best known for his associations with Gil Evans, the remarkable Charles Mingus Quintet of 1964, and Herbie Hancock’s late 60’s Sextet, led relatively few albums of his own, and only two before 1982. Recorded in 1963, Little Johnny C is universally recognized as Johnny Coles’ finest recording. Cole’s soulful trumpet is heard in superb form as he pushes the hard bop mainstream forward. Duke Pearson, who was both a very skilled pianist, as well as one of the top arrangers of the 1960s, contributes five very fresh originals to the set. Notably, Little Johnny C is also one of tenor saxophonist Joe Henderson’s finest early recordings – his round sound and innovative phrasing clearly evident at this early point in his career. With the superb title cut, the ballad “So Sweet My Little Girl”, and “Jano” being high-points, in addition to beautiful flute and alto solos contributed by Leo Wright, “Little Johnny C” is an masterful album by an artist at his creative peak. This is a set to be savored again and again.

Catalog Number MMBST-84135
Release Date: September 2008

Freddie Hubbard - Here To Stay

One of the acknowledged giants of jazz trumpet, Freddie Hubbard recorded many albums for Blue Note in the 1960s. Due to the incredible quantity and quality of Blue Note recording sessions in the ‘50s and ‘60s, several of Hubbard’s’ most stirring albums went unissued at the time. There were times when the reason for Alfred Lion’s decision to hold back a session were quite clear. But there were many others, such as this gem, where one can only gather that the Blue Note office, in the early 60’s was simply too busy and chaotic to keep track of every session. Here to Stay, a true rare find, was first released as part of a two-LP set in 1979 after languishing in the vaults for over 15 years. It features a Hubbard in his early twenties, and most definitely in his prime. Freddie was a member of Art Blakely’s Jazz Messengers at this time. In fact, the lineup of musicians is comprised of the Jazz Messengers of the day (with Wayne Shorter on tenor, pianist Cedar Walton and bassist Reggie Workman) with drummer Philly Joe Jones filling in for Blakey. The music is fiery, brilliant and full of excitement, including a particularly memorable version of “Body and Soul”. Here to Stay is a hard bop rarity (now heard in stunning fidelity) from some of the top young lions of the 1960s. It is, quite simply, one of the most inspired albums of Hubbard’s career.

Catalog Number MMBST-84169
Release Date: September 2008

Lee Morgan - Search For The New Land

Renowned in jazz ever since he emerged in the Dizzy Gillespie big band of 1956, and crowned early on as the late Clifford Brown's successor among promising young trumpeters, Lee Morgan packed a lot of living into the next 16 years. A member of arguably the finest versions of Art Blakey's Jazz Messengers (playing alongside Benny Golson or Wayne Shorter), Morgan recorded regularly for Blue Note as both a leader and a sideman for virtually his entire career. He had a major hit recording with "The Sidewinder" in 1963 and was on a countless number of significant Blue Note recordings, stretching his hard bop style while being open to the influences of the avant-garde, post bop and late 1960s r&b. Only his untimely death in 1972 kept him from challenging Freddie Hubbard as the top jazz trumpeter of the 1970s. While Morgan's boogaloo recordings were very popular, Search For The New Land has one of his finest hours. Recorded right after The Sidewinder, Search For The New Land introduces five of Morgan's most challenging compositions, has him leading an all-star sextet (with Shorter, Grant Green and Herbie Hancock) and features him playing stirring and intense solos that rank not only with his greatest work but the most creative trumpet solos of the mid-1960s.

Catalog Number MMBST-84091
Release Date: October 2008

Sonny Clark - Leapin and Lopin

It is some jazz musicians fate to be better known after their death then they were during their lifetime, to be considered a legend today when they were actually overshadowed by others during their prime. Sonny Clark, who died in January 1963 at the age of 31 due to self-abuse was well documented during 1957-62 but he never achieved the headlines of Thelonious Monk, Oscar Peterson and Dave Brubeck, to name just three more famous pianists from the time. Blue Note fans have always known about Clark since he led seven superb albums for the label. Fans of Bud Powell knew that Clark was one of his top disciples, and collectors of Buddy DeFranco's records of the early 1950s were aware of his contributions to the clarinetist's recordings. But to a general public that bought Erroll Garner and George Shearing records, Sonny Clark was an unknown name. It was not until after his death that the music world seemed to finally realize what it had lost. On Leapin And Lopin, his last recording as a leader, Clark for the first and only time leads a quintet featuring trumpeter Tommy Turrentine and tenor-saxophonist Charlie Rouse. The pianist introduces a few of his final originals, takes many sparkling solos, and is heard at the peak of his powers, carving out his place in jazz history. This is timeless music and, although Sonny Clark may have been taken for granted during his life, he is now rightfully considered one of jazz's irreplaceable immortals.

Catalog Number MMLT-1078
Release Date: October 2008

Lee Morgan - Tom Cat

The most common reaction after hearing Lee Morgan’s Tom Cat is “why on earth didn’t Blue Note release this at the time!”. The great trumpeter, only 26 at the time of this recording, and his all-star cast with Jackie McLean, Art Blakey, Curtis Fuller and McCoy Tyner are a who's who of the mid-1960s hard bop scene. Quite simply, this is one of Lee Morgans’ finest sessions. Even Blue Note owner Alfred Lion, when asked, was hard pressed to understand why a session of this caliber was held back. However Morgan was recording so frequently for Blue Note during this era that several of his finest recordings were lost in the shuffle as the label looked for another hit to rival the massive success of Lee’s The Sidewinder. The reasons are somewhat obscure but in any case, this classic outing sat in the vaults as Blue Note slowly declined, became inactive and by 1981 was reduced to being a reissue company focusing on its past glories. With Morgan no longer around (having been shot in 1972 by a jealous lover while performing at Slugs night club in NYC), it’s as if Lee Morgan is speaking from the grave, pointing out future directions for younger musicians. This memorable, innovative and soulful music is for many listeners one of Lee Morgan’s best recordings.

Catalog Number MMBST-81588
Release Date: November 2008

Sonny Clark - Cool Struttin

Considered one of the great young pianists of the mid-to-late 1950s, Sonny Clark was practically the house pianist at Blue Note during 1957-62 before his premature death in 1963. He led seven albums for Blue Note during that time, appeared on many dates as a sideman, and recorded Cool Struttin, which is considered his main classic. Clark never recorded an unworthy chorus. His playing was full of joyful discoveries, constant swing, and an optimistic creativity that was indescribable and quite infectious. On Cool Struttin from 1958, Clark matches wits and inventive ideas with altoist Jackie McLean and trumpeter Art Farmer. Their four lengthy performances, which include Miles Davis Sippin At Bells and the exotic Deep Night, are filled with magical moments where the five musicians seem to think and create like one. The greatest jazz performances include moments like those heard on Cool Struttin , where the music has a life of its own beyond the individual players. The more one plays Cool Struttin , the more it is obvious that this is one of the truly essential Blue Note recordings.

Catalog Number MMBLP-1517
Release Date: November 2008

Gil Melle - Patterns In Jazz

Gil Melle was a 20th century renaissance man, a unique individual with wide interests and many talents. In his life he wrote over 125 film scores, was a pioneer in experimenting with electronic music, built computers and synthesizers, was a notable painter, piloted planes, restored automobiles and airplanes, and was a visual artist whose art was used on the cover of records by Miles Davis, Sonny Rollins and Thelonious Monk. Musically he never stood still or fit easily into any category. Early on Melle was a highly skilled baritone-saxophonist with his own sound and approach, performing at the Village Vanguard before he was even old enough to have a drivers license. Patterns In Jazz from 1956 is Gil Melle's definitive straight-ahead jazz recording. The music is colorful and adventurous, laidback but eminently approachable. Teamed in a quintet with trombonist Eddie Bert and guitarist Joe Cinderella, the emphasis is on low tones, bright colors and surprising patterns, whether on Melle’s originals or inventive rearrangements of “Moonlight In Vermont” and “Long Ago And Far Away”. Blue Note engineer Rudy Van Gelder seemed to have a special affinity for Melle’s music since all of the Melle sessions recorded in Van Gelder’s studio are sonically exceptional, including this one. The music on this rare gem is as unique, unusual and memorable as is Gil Melle himself.

Catalog Number MMBLP-1568
Release Date: December 2008

Hank Mobley - Sextet

Hank Mobley's tenor saxophone was such an integral part of the Blue Note sound that his albums were often given such basic names as Hank, Hank Mobley, Hank Mobley Quintet and Hank Mobley Sextet. All that Blue Note fans needed to know was that Hank Mobley was on the job. That meant that they had to acquire the record, for Mobley was the definitive hard bop saxophonist and a sparkplug who made every session something special. From the time that he emerged as a hot young tenor player who had worked with Max Roach, Dizzy Gillespie, the original version of the Jazz Messengers and the Horace Silver Quintet up until the end of the 1960s, Mobley was a regular on Blue Note, recording one memorable album after another. This 1957 project simply titled Hank Mobley, in addition to fine contributions from trumpeter Bill Hardman and the great pianist Sonny Clark, is particularly special due to the playing and compositions of altoist Curtis Porter. Porter, who was later known as Shafi Hadi, is best remembered for his association with Charles Mingus but he sounds even more inspired and passionate on this album than he did with the explosive bassist. And with Hank Mobley in exceptional form, the result is a rare classic. For many listeners, “Hank Mobley-1568” is an album that utterly defines hard bob and the Blue Note label. It is no wonder that an original copy of this LP fetches five figures!

Catalog Number MMBST-84075
Release Date: December 2008

Donald Byrd - The Cat Walk

Donald Byrd has had an episodic and very productive career. Whether it was playing at recorded jam sessions for Prestige in the 1950s, combining voices with a hard bop group on Cristo Redentor, or becoming a major commercial success in the 1970s with his funk/R&B recordings, the trumpeter was in the musical headlines for decades. The finest group of his career was the quintet that he co-led with baritonist Pepper Adams during 1958-62. The blend between Byrd and Adams, their individuality, and the sparks that always flew when they performed together were always mutually inspiring. The Cat Walk is arguably their finest recorded collaboration. With pianist Duke Pearson (who would work with Byrd throughout the 1960s), bassist Laymon Jackson and drummer Philly Joe Jones, The Cat Walk has an all-star lineup. Pearsons four compositions (one co-written with the trumpeter), highlighted by Hello Bright Sunflower and Dukes Mixture, helps give this group its own unique identity even beyond the sound of the two horn greats. The results are quintessential hard bop that is essential and certainly a highlight in the careers of Donald Byrd, Pepper Adams and Duke Pearson.