Catalog Number MMBST-84029
Release Date: December 2007

Art Blakey - Big Beat  [Out of Print]

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  [Out of Print]

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  [Out of Print]

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  [Out of Print]

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  [Out of Print]

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  [Out of Print]

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  [Out of Print]

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  [Out of Print]

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  [Out of Print]

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  [Out of Print]

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  [Out of Print]

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-84091
Release Date: November 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-1058
Release Date: November 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: January 2009

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: January 2009

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: February 2009

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 bop 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: February 2009

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.

Catalog Number MMBST-84052
Release Date: April 2009

Tina Brooks - Back To The Tracks

Harold “Tina” Brooks could have been a tenor sax contender for legendary status and certainly had the ability, the sound and the creative imagination. A colorful player (and exceptional composer) whose hard bop solos were soulful, inventive and stimulating, Brooks had the misfortune of having three of his four Blue Note albums as a leader lay unissued until he had passed away. As difficult as it is to believe after listening, Back To The Tracks was one of these unreleased sets. In truth, there was no logical reason why this very rare 1960 session was bypassed for it features Brooks coming up with one brilliant solo after another throughout a consistently superb set. More than holding his own with a stellar cast including trumpeter Blue Mitchell, altoist Jackie McLean and a superb rhythm section on a mixture of originals and standards, “Tina” constantly takes solo honors. Brooks plays his heart out during these rare recordings that really define where jazz was in 1960. Back To The Tracks is a timeless hard bop gem rescued from the vaults that should not to be missed!

Catalog Number MMBST-84045
Release Date: April 2009

Freddie Redd - Shades of Redd

Freddie Redd is a name that every jazz collector should know. During 1957-60, he recorded three memorable albums: San Francisco Suite (a trio date for Riverside), The Connection (his score for the famous play) and Shades Of Redd. While he has spent much of the time in obscurity since then, with occasional comebacks, Shades Of Redd is the obvious highpoint of the pianist-composer's recording career. Redd wrote the music specifically for the two mighty horn players featured with his quintet (altoist Jackie McLean and tenor-saxophonist Tina Brooks). While Redd's fine piano playing is an outgrowth of Bud Powell's, his writing style was always quite original and it clearly inspired the two contrasting saxophonists when they met up in 1960. Filled with the optimism of the era and looking forward to freer sounds but staying closely connected to swinging hard bop, this formerly rare gem hints at John Coltrane and Ornette Coleman while sounding very much like Freddie Redd. No jazz collection is complete without Shades Of Redd.

Catalog Number MMBST-84077
Release Date: June 2009

Dexter Gordon - Doin' All Right

Dexter Gordon always played with a melancholy smile in his sound. The joy he felt in playing his tenor saxophone was apparent, as was his huge tone and playful conception. At the time that he recorded Doin' All Right, his very first Blue Note album, Dex had a reason to be smiling. Gordon was making a major comeback after spending several years in prison on a narcotics conviction. After being one of the primary pacesetters among tenors during the bebop era, Dex had been largely forgotten in the 1950s due to several other periods of involuntary incarceration. But after the release of this 1961 album with the young trumpet sensation Freddie Hubbard and the Horace Parlan Trio, Dexter was here to stay. Just listen to him caressing "You've Changed," introducing "Society Red" (which 15 years later would be used in his famous film Round Midnight) and sounding jubilant on "I Was Doing All Right." Dexter Gordon was feeling joyful, feeling healthy and content to let every note tell the story. Doin’ All Right is Dexter Gordon creating music for the ages!

Catalog Number MMBLP-1590
Release Date: June 2009

Lee Morgan - Candy

Classical music is full of child prodigies but they are somewhat rare in jazz. Lee Morgan was an exception, for he was a brilliant trumpeter while still a teenager. His musical genius is difficult to explain; but easy to hear. Lee Morgan emerged fully formed technically along with a crackling intensity and passion that was a joy to experience. By the time he recorded Candy in 1959, the 20-year old had already led five albums for Blue Note, and had logged valuable time with not only the Dizzy Gillespie Big Band, but also as a member of (what some consider) the finest edition of Art Blakey's Jazz Messengers. Candy is a unique item in Morgan’s history for it is the only quartet album that Morgan ever recorded. In fact, no other horns were needed! Candy features the trumpeter playing with beauty, fire, passion and a mature lyricism exceeding most musicians double his age. Joined by a rhythm section of young giants including pianist Sonny Clark, Morgan burns on the faster pieces but puts plenty of feeling into "All The Way," the soulful "Since I Fell For You" and "Personality." At 20, Lee Morgan was already a modern master and, from this point forward, considered one of the great trumpet men of jazz. Who said that youth was wasted on the young?

Catalog Number MMBST-84163
Release Date: July 2009

Eric Dolphy - Out To Lunch  [Out of Print]

In the history of jazz, Eric Dolphy was the first innovator to develop a strikingly original yet different voice on three instruments: alto-sax, flute and bass clarinet. When Dolphy burst upon the New York scene in 1960, he already had over a decade of experience. Originally influenced most by Charlie Parker, Dolphy was part of Los Angeles' Central Avenue scene in the late 1940s. Virtually nothing was heard of him on records in the 1950s before he joined the Chico Hamilton Quintet in 1958, but by then he was ready for the big leagues. His associations with Charles Mingus and John Coltrane along with his series of dynamic recordings for Prestige gave him attention. His speech like solos on alto (which featured wide interval jumps), his pioneering of the bass clarinet as a solo instrument and his flute playing which was inspired by the sound of birds marked him as a major innovator and a true original. His playing was consistently emotional, often-jubilant and always full of passion. Out To Lunch from 1964, his final studio album before his premature death at the age of 36, has long been considered one of his greatest statements. Not only is Dolphy heard at his most explorative and inventive on each of his instruments but he contributes five very original compositions including an unusual Thelonious Monk tribute ("Hat And Beard") and the eccentric "Straight Up And Down." Utilizing quite an all-star group that features Freddie Hubbard, Bobby Hutcherson, Richard Davis and a teen aged Tony Williams, Dolphy maps out a future for jazz that he would never live to experience. One can hear bits of such future greats as Oliver Lake, Anthony Braxton, Bennie Maupin, David Murray and James Newton in Dolphy's playing and writing but, truth be told, there was only one Eric Dolphy. Out To Lunch is his last masterpiece.

Catalog Number MMBLP-1524
Release Date: July 2009

Kenny Dorham - 'Round About Midnight At The Café Bohemia

On May 31, 1956, an very inspired night at the legendary Café Bohemia, the great trumpeter Kenny Dorham was featured with his working quintet, which included pianist Bobby Timmons (three years before he found fame with Cannonball Adderley), and the unsung but brilliant tenor-saxophonist J.R. Monterose. With guitarist Kenny Burrell being the special guest, the results not only define hard bop of the period but show why both the music and the trumpeter were so special. One of the most important leaders of the second generation of beboppers, Kenny Dorham played with both the Dizzy Gillespie big band and the Charlie Parker Quintet. While he learned directly from the masters, he was never content to merely ride on their coat tails and he developed into one of the pacesetters of hard bop. During 1955-63 Dorham recorded quite a few gems for Blue Note but At The Bohemia is very special. To hear the distinctive trumpeter playing his heart out on his features "Who Cares" and "Autumn In New York" is to eavesdrop on jazz history.

Catalog Number MMBST-84182
Release Date: September 2009

Wayne Shorter - Juju

Alfred Lion recorded many superb tenor saxophonist’s through the years including Sonny Rollins, Hank Mobley, Tina Brooks and Joe Henderson. However, by any measure Wayne Shorter must be considered one of the the most original and advanced voices on his instrument. In addition to his playing skill, Wayne Shorter is equally acclaimed as one of the most brilliant composers in jazz. Wayne’s improvising style and complex yet magical compositions, were entirely his own. After an important association with Art Blakey's Jazz Messengers, Shorter, in 1964 became a member of Miles Davis’ second great quintet (also featuring Herbie Hancock, Ron Carter and Tony Williams.) Right about this time in 1964 Shorter recorded Ju Ju, with (instead of his associates in the Davis’ band) the band of John Coltrane at that time, the great McCoy Tyner on piano, Reggie Workman on bass and poly-rhythmic sensation Elvin Jones on drums. Juju is a bold statement that pointed towards the future of jazz. Ju Ju, in addition to the playing of this stellar musical cast contains such brilliant Shorter compositions as "House Of Jade," "Mahjong," "Yes Or No" and "Twelve More Bars To Go.” Juju is a not-to-be-missed look into the amazing talent of Wayne Shorter.

Catalog Number MMBLP-1573
Release Date: September 2009

John Jenkins & Kenny Burrell - John Jenkins with Kenny Burrell

The magical combination that is heard on this rare album from 1957 only happened once. John Jenkins, a mystery figure in jazz history, was a superb altoist inspired by Charlie Parker, Jackie McLean and Phil Woods. He emerged from Chicago in 1957, made a strong impression during the next few years and then largely disappeared, only re-emerging a few times before his 1993 death. His greatest recording was the date that he co-led with Kenny Burrell. Joined by an all-star rhythm section featuring pianist Sonny Clark, Jenkins and Burrell created a very cool, melodic and accessible Blue Note album, a real treasure full of timeless music. The blend between the instruments, the emotional playing and the brilliance of the musicians make this a must-have.

Catalog Number MMBST-84024
Release Date: October 2009

Jackie McLean - Swing, Swang, Swingin'

Prior to 1959, Jackie McLean was an important young Turk whose sharp tone and intense style on alto grew out of Charlie Parker yet were very much his own. Growing up in New York, his neighbors included such friends as Bud Powell, Thelonious Monk and Sonny Rollins. By 1951 he was recording with Miles Davis and other associations in the 1950s included Charles Mingus and two years with Art Blakey's Jazz Messengers. But all of that was a prelude to his recording 21 brilliant, explorative and frequently explosive albums for Blue Note during 1959-67. While McLean became one of the first jazz musicians of his generation to stretch beyond hard bop into freer explorations inspired by Ornette Coleman, Swing, Swang, Swingin' is a straight ahead affair in which he mostly puts his stamp on standards. Few versions of "Let's Face The Music And Dance" and "I Love You" have ever had this much intensity and, when McLean digs into the ballad "What's New," he gives it a fiery passion that had never been heard before. Jackie McLean not only swings and swangs but he burns with the urgency, agony and ecstasy of the 1960s.

Catalog Number MMBST-84058
Release Date: October 2009

Hank Mobley - Roll Call

Tenor-saxophonist Hank Mobley's smooth tone and hard-swinging style helped define the Blue Note sound. He was considered such a valuable musician by Alfred Lion that Mobley led 25 Blue Note albums during 1955-70, also appearing as a sideman on many others. Part of the Philadelphia jazz scene by the late 1940s, Mobley moved up North in 1951 and worked with Max Roach, Dizzy Gillespie, and most significantly the original versions of the Jazz Messengers and the Horace Silver Quintet. He was also in the Miles Davis Quintet in 1961. However he will always be best remembered for his string of brilliant Blue Note recordings of which 1960's Roll Call stands at the top. Mobley is heard at his most fiery, matching wits with the young upstart Freddie Hubbard, who was already an incendiary force. Such song titles as "My Groove, Your Move" and "A Baptist Beat" lets one know that Mobley's originals are full of their brand of soul, and the roaring drum rolls of Art Blakey often set the entire session on fire.

Catalog Number MMBST-84074
Release Date: November 2009

Horace Parlan - On The Spur of The Moment

When one is stricken with polio as a child, resulting in a partially paralyzed right hand, becoming a pianist may not seem like a logical career move. However Horace Parlan had too much soul to stay away from music, and he turned his disability into an advantage and his own personal style. After playing in r&b groups in his native Pittsburgh , in 1957 he moved to New York and impressed Charles Mingus so much that he was in his group for two years. Parlan also worked with Lou Donaldson, Booker Ervin, the Eddie Lockjaw Davis-Johnny Griffin Quintet and Rahsaan Roland Kirk before having a second life in Copenhagen , where he spent his final 30 years. Parlan's most exciting recordings were made for Blue Note, particularly the ones that teamed him with bassist George Tucker and drummer Al Harewood. The trio was so close that they created music with one mind. On The Spur Of The Moment is particularly memorable for it also features the Turrentine Brothers. Stanley Turrentine was very distinctive on tenor-sax even in the early 1960s, and he is instantly recognizable in one soulful note. Trumpeter Tommy Turrentine was a masterful bebopper and gives the set some additional fire. The combination of the Horace Parlan Trio and the Turrentines makes this rare Blue Note album into an instant classic that epitomizes the hard bop/soul jazz era.

Catalog Number MMBST-84040
Release Date: November 2009

Freddie Hubbard - Open Sesame

Freddie Hubbard was one of the greatest jazz trumpeters of all time. Open Sesame was his first album as a leader and this 1960 set finds the 22-year old already sounding like he was a poll winner. Hubbard had emerged from Indianapolis just two years before and, despite a few brief high-profile gigs, including with Sonny Rollins, J.J. Johnson and the Quincy Jones Orchestra, he was at the beginning of it all when he recorded Open Sesame. No matter, he sounds like a seasoned pro, taking explosive solos on uptempo pieces, showing warmth and maturity on ballads and displaying a beautiful tone and an adventurous style throughout. Imagine being 22 and playing so brilliantly while McCoy Tyner is accompanying your solos! Always a courageous and a dramatic soloist, Freddie Hubbard shows with his fearless and fiery playing that he was already ready to conquer the jazz world in 1960.

Catalog Number MMBLP-1567
Release Date: December 2009

Curtis Fuller - The Opener

When bebop took over from swing, it was feared that the trombone was on its way to becoming a minor instrument. Few other than J.J. Johnson and Kai Winding could figure out how to play the potentially-awkward trombone at the rapid speeds favored by Charlie Parker and Dizzy Gillespie. However Curtis Fuller, who emerged in the mid-1950s, developed a style inspired by J.J. Johnson that became an influential force and helped to save the instrument. By the time he recorded The Opener in 1957, Fuller was the definitive hard bop trombonist, a position that he would own after spending several years in the 1960s as a member of Art Blakey's Jazz Messengers. For his debut Blue Note album, Fuller digs into three standards, two originals and "Oscalypso" (a calypso by Oscar Pettiford), showing that the trombone has an important role in modern jazz, at least by those who could play on this level. His warmth, swing and consistently colorful ideas make The Opener one of Curtis Fuller's most exciting and memorable.

Catalog Number MMBST-3053
Release Date: December 2009

Grant Green - Matador

During the first half of the 1960s, Grant Green was the house guitarist at Blue Note. His single-note lines had the power of a saxophonist, he displayed his own brand of soul, and he was so versatile that he was a perfect fit with soulful organ combos, post bop groups and all-star straight-ahead bands, even recording Latin music, spirituals and a Western-themed album. For 1964's Matador, Green showed a lot of courage, performing "My Favorite Things" in a quartet with McCoy Tyner and Elvin Jones. Any other guitarist would sound foolhardy in that setting, but Green came up with his own ideas, creating a different spin on John Coltrane's trademark song. It is proof that on the guitar, Green was on the level of a McCoy Tyner and an Elvin Jones on their instruments. He was an innovator who blazed his own path, created music that had never been heard before, and always remained impossible to pin down as playing in only one style. Matador, which features Grant Green with his peers, is one of his most vital and timeless recordings.

Catalog Number MMBST-84152
Release Date: January 2010

Joe Henderson - Our Thing

When Joe Henderson emerged out of nowhere in 1963 and was presented by trumpeter Kenny Dorham, it must have confused many in the jazz world. Henderson sounded nothing like John Coltrane or Sonny Rollins, he could play both hard bop and very free with ease, and he had his own musical vocabulary. While most jazz musicians spend their early years emulating their heroes, Henderson had his own distinctive sound and did not belong to any one style. It is no wonder that Alfred Lion immediately signed him to Blue Note, for Henderson's originality was just what the hard bop world needed. On Our Thing, the great tenor performs his own brand of inside/outside music in a quintet with Dorham and Andrew Hill. His solos are stunning displays of virtuosity and ideas that still sound fresh today. Even over 45 years later, no one sounds like Joe Henderson.

Catalog Number MMBLP-1542
Release Date: January 2010

Sonny Rollins - Vol. 1

In jazz history, Sonny Rollins ranks among tenor-saxophone giants with Coleman Hawkins, Lester Young, Ben Webster and John Coltrane. In his dazzling 60-year career at the top, Rollins has balanced melodic development with unpredictable phrases, infusing his innovative ideas with his memorable wit. Who else could take the show tune "How Are Things In Glocca Morra?" and turn it into a fertile device for a heated solo? On Vol. 1, Rollins plays that song and several of his originals in a quintet with Donald Byrd and Max Roach. While Rollins has composed quite a few jazz standards, his four songs on Vol. 1 (particularly "Decision" and "Sonnysphere") are long overdue to be revived. But who else could play those songs with the passion, intensity and humor of the immortal and always-original Sonny Rollins.

Catalog Number MMBST-84183
Release Date: February 2010

Grant Green - Talkin' About!

Grant Green ranked alongside Wes Montgomery as the most exciting new jazz guitarist of the early 1960s. Green recorded a couple of dozen very memorable albums for Blue Note in styles ranging from modal jazz to soul jazz, bop, funk, Latin and spirituals. When Grant Green teamed up in a trio with the forward looking organist Larry Young and drummer Elvin Jones on Talkin' About, a magical musical alchemy occurred. Far from sounding like the standard organ trio, Talkin’ About showcases three master musicians in full flight. Larry Young was no longer playing Jimmy Smith licks. He was universally acknowledged as having the first new style on organ since Smith. Elvin Jones was THE major drummer of the era, and Green was capable of excelling in any setting. Just listen to the guitarist on the lengthy "Talking About J.C." and the joyous version of "I'm An Old Cowhand." You’ll quickly understand why Talkin’ About is such a sought after gem of the Blue Note catalog.

Catalog Number MMBLP-1557
Release Date: February 2010

Lee Morgan - Vol. 3

Lee Morgan began carving out his musical legacy while still a teenager and never looked back. He emerged from Philadelphia in 1956 playing with such brilliance that he was dubbed "the new Clifford Brown." Dizzy Gillespie, on one of his tour stops in Philly, heard Lee play and immediately hired him for Gillespie’s own globe trotting band. Lee Morgan was never a mere copy or revivalist but a powerful creative force from the start with his own fresh musical ideas. Few 18-year olds in jazz history have started out at such a high level and maintained it throughout their career. On Vol. 3 from 1957, Morgan performs five compositions and arrangements by the great tenor-saxophonist Benny Golson including the original (and definitive) version of the heartbreaking "I Remember Clifford." Morgan's sound on trumpet was already brilliant, his ideas fresh and new, and his solos full of crackling fire and confidence. For all of his swagger and intensity, it is Morgan's passionate rendition of "I Remember Clifford" that remains in one's mind long after this superb album is finished. Vol. 3 is a superb musical document of the emergence of a true giant.

Catalog Number MMBST-84169
Release Date: March 2010

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 MMBLP-1526
Release Date: March 2010

Clifford Brown - Clifford Brown Memorial Album

From the very beginning of his brief career, it was obvious that Clifford Brown was one of the greatest trumpeters of all time. The music on the Clifford Brown Memorial Album features Brownie in 1953 on his first jazz recordings. Even if he had only recorded the music on this release, Brown would have been considered an immortal. Five songs match him with Lou Donaldson and Elmo Hope and these not only include his brilliant solos on "Brownie Speaks" and Hope's catchy "De-Dah" but a mature ballad statement on "You Go To My Head." Brown was building on the legacy of Fats Navarro while challenging Dizzy Gillespie's position as modern jazz's top trumpeter, and Brownie was only 22. The other half of this remarkable release has Brown in a sextet with Art Blakey and John Lewis, ripping into "Cherokee" (Charlie Parker would have been proud) and "Wail Bait" while caressing "Easy Living." His large beautiful tone, mastery of bebop and remarkable technique made Brown a giant from the start. Listen to the Clifford Brown Memorial Album and hear where Lee Morgan, Freddie Hubbard and Woody Shaw came from.

Catalog Number MMBST-84204
Release Date: April 2010

Dexter Gordon - Gettin' Around

Of the many bebop greats who emerged in the mid-1940s, Dexter Gordon was one of the very few (along with Art Blakey and Kenny Dorham) to be a Blue Note artist two decades later. His large sound, ability to play long solos with creativity, and infectiously swinging style made Long Tall Dexter an irresistible force for many years. He fit into the hard bop world as effortlessly as he did in bop and swing settings, infusing the music with humorous song quotes, rousing ideas, and his wonderful tone. No one could out swing Gordon. He had no difficulty keeping up with such younger players as Bobby Hutcherson, Barry Harris and Billy Higgins on 1965's Getting' Around. Dexter's passionate sound the ballads "Everybody's Somebody's Fool" and "Who Can I Turn To" and his drive on "Shiny Stockings" (one of the very few times that this Count Basie-associated song was recorded by a small group) makes Getting' Around memorable from start to finish, demonstrating that Dexter Gordon and the Blue Note label were a magical combination.

Catalog Number MMBST-84070
Release Date: April 2010

Stanley Turrentine - Up At Mintons, Vol. 2

Stanley Turrentine created his own world of music. Every note that the instantly recognizable tenor giant played dripped with soul. No matter what setting he appeared in, from jazz organ combos to hard bop sextets, to funk and r&b ensembles to big bands, Mr. T. could be picked out within a couple of notes. Many of the sounds that emitted from his saxophone only could have come from Turrentine for it contained his soul. He was with Blue Note throughout the 1960s, recording two albums at Minton's Playhouse in 1961 when he was 26. While Vol. 1 is excellent, it serves as a warm up for the second album, which is a perfect example of Stanley Turrentine at his most inventive, melodic and soulful. Joined by Grant Green and the Horace Parlan Trio, Turrentine makes three standards ("Come Rain Or Come Shine," "Love For Sale" and "Summertime") sound fresh and new despite how often others have recorded them. The tunes sound different due to Turrentine's tone, placement of notes and his lyrical and emotional approach. He played songs his own way; there was only one Stanley Turrentine.