ukvibe

Heibonsha (Online magazine and compiled in a book of the top 100)

第１位『ブルー・トレイン』ジョン・コルトレーン
blue train/coltrane
第２位『サムシン・エルス』キャノンボール・アダレイ
somethin’ else/Cannonball
第３位『クール・ストラッティン』ソニー・クラーク
cool struttin’/sonny clark
第４位『モーニン』アート・ブレイキー＆ザ・ジャズ・メッセンジャーズ
moanin’/art blakey
第５位『処女航海』ハービー・ハンコック
maiden voyage/hancock
第６位『ヴィレッジ・ヴァンガードの夜』ソニー・ロリンズ
night at the village vanguard/rollins
第７位『アウト・トゥ・ランチ』エリック・ドルフィー
out to lunch/dolphy
第８位『キャンディ』リー・モーガン
candy/lee morgan
第９位『ソウル・ステーション』ハンク・モブレー
soul station/mobley
第10位『バードランドの夜Ｖｏｌ．１』アート・ブレイキー
a night at birdland Vol.1/blakey
第11位『ザ・サイドワインダー』リー・モーガン
the sidewinder/morgan
第12位『シーン・チェンジズ』バド・パウエル
scene changes/powell
第13位『ジ・アメイジング・バド・パウエルＶｏｌ．１』
amazing bud powell Vol.1
第14位『チュニジアの夜』アート・ブレイキー＆ザ・ジャズ・メッセンジャーズ
a night in tunisia/blakey
第15位『ミッドナイト・ブルー』ケニー・バレル
midnight blue/burrell
第16位『スピーク・ノー・イーヴル』ウェイン・ショーター
speak no evil/shorter
第17位『エンピリアン・アイルズ』ハービー・ハンコック
empyrean isles/hancock
第18位『ハプニングス』ボビー・ハッチャーソン
happenings/hutcherson
第19位『スピーク・ライク・ア・チャイルド』ハービー・ハンコック
speak like a child/hancock
第20位『ゲッティング・アラウンド』デクスター・ゴードン
gettin’ around/dex
第21位『モザイク』アート・ブレイキー＆ザ・ジャズ・メッセンジャーズ
mosaic/blakey
第22位『フュエゴ』ドナルド・バード
fuego/byrd
第23位『アス・スリー』ホレス・パーラン
us three/parlan
第24位『ゴールデン・サークルのオーネット・コールマンＶｏｌ．１』
at the golden circle Vol.1/ornette
第25位『ブローイン・ザ・ブルース・アウェイ』ホレス・シルヴァー
blowin’ the blues away/silver
第26位『ディッピン』ハンク・モブレー
dippin’/mobley
第27位『ソング・フォー・マイ・ファーザー』ホレス・シルヴァー
song for my father/silver
第28位『デモンズ・ダンス』ジャッキー・マクリーン
demon’s dance/mcLean
第29位『ニュークス・タイム』ソニー・ロリンズ
newk’s time/rollins
第30位『ソニー・ロリンズＶｏｌ．２』
sonnny rollins Vol.2
第31位『ブルー・アワー』スタンリー・タレンタイン＆スリー・サウンズ
blue hour/turrentine
第32位『トゥルー・ブルー』ティナ・ブルックス
true blue/brooks
第33位『リー・モーガンＶｏｌ．３』
lee morgan Vol.3
第34位『ロール・コール』ハンク・モブレー
roll call/mobley
第35位『スイング・スワング・スインギン』ジャッキー・マクリーン
swing,swang,swingin’/mcLean
第36位『フライト・トゥ・ジョーダン』デューク・ジョーダン
flight to jordan
第37位『カフェ・ボヘミアのケニー・ドーハム』
at cafe bohemia/kenny dorham
第38位『ゴー！』デクスター・ゴードン
go!/dex
第39位『バードランドの夜Ｖｏｌ．２』アート・ブレイキー
a night at birdland Vol,2/blakey
第40位『メモリアル・アルバム』クリフォード・ブラウン
memorial album/browny
第41位『ベース・オン・トップ』ポール・チェンバース
bass on top/chambers
第42位『アスロ・キューバン』ケニー・ドーハム
afro cuban/dorham
第42位『レット・フリーダム・リング』ジャッキー・マクリーン
let freedom ring/mclean
第44位『イントロデューシング・ジョニー・グリフィン』
introducing johnny griffin
第44位『テイキン・オフ』ハービー・ハンコック
takin’ off/hancock
第46位『ヒッコリー・ハウスのユタ・ヒップＶｏｌ．１』
at the hickory house Vol1/hipp
第46位『ミッドナイト・スペシャル』ジミー・スミス
midnight special/smith
第46位『スイート・ハニー・ビー』デューク・ピアソン
sweet honey bee/pearson
第49位『ホレス・スコープ』ホレス・シルヴァー
horace scope/silver
第50位『デクスター・コーリング』デクスター・ゴードン
dexter calling/dex

Top 10: Takafumi Mimori, editor-in-chief, Swing Journal Magazine, Japan.

01) Demon’s Dance/Jackie McLean
02) Love Call /Ornette Coleman
03) Out To Lunch/Eric Dolphy
04) Moanin’/Art Blakey and the Jazz Messengers
05) Crazy Baby/Jimmy Smith
06) Super Nova/Wayne Shorter
07) Alligator Bogaloo/Lou Donaldson
08) The Sidewinder/Lee Morgan
09) Maiden Voyage/Herbie Hancock
10) Afro Cuban/Kenny Doham

Blue Note at 70: Behind an Iconic Label

jazzdisco

This site is well worth a little of your time.
Link

Top 10: Alex Dutilh “France Musique - Jazzman”

01) Cannonball Adderley “Somethin Else”
02) Art Blakey Jazz Messengers “Like Someone in Love”
03) Don Cherry “Complete Communion”
04) Chick Corea “Now He Sings, Now He Sobs”
05) Herbie Hancock “Maiden Voyage”
06) Andrew Hill “Judgment”
07) Sonny Rollins “A Night at the Village Vanguard”
08) Wayne Shorter “Speak No Evil”
09) Cecil Taylor “Conquistador”
10) Tony Williams “Life Time”

Blue Note: A beginner’s guide to Top Tens

These reflect solely this writer’s tastes and are totally subjective and open to endless debate. They may nonethless provide a few insights for those relatively new to the label and throw up the odd item of interest for the more seasoned collector. Virtually all have been re-issued on CD and many are available via the web in one of the many vinyl re-editions of the label over the past forty years or so. We shall be publishing the top tens of specialist record shops, jazz journalists, aficionados and collectors throughout the summer and into the autumn.

Organ Jazz

01. John Patton ‘Let’em Roll’
02. Jimmy Smith ‘Midnight Special’
03. Larry Young ‘Unity’
04. Reuben Wilson ‘Love Bug’
05. Lou Donaldson ‘Alligator Boogaloo’
06. Jimmy Smith ‘Prayer Meetin’’
07. Lonnie Smith ‘Think’
08. Baby Face Willette ‘Face to face’
09. George Braith ‘Soul Stream’
10. Jack McDuff ‘Moonrappin’’

Avant Garde

01. Eric Dolphy ‘Out to Lunch’
02. Andrew Hill ‘Point of Departure’
03. Jackie McLean ‘Destination Out’
04. Cecil Taylor ‘Conquistador’
05. Grachan Moncur ‘Evolution’
06. Sam Rivers ‘Contours’
07. Tony Williams ‘Spring’
08. Jackie McLean ‘Let Freedom Ring’
09. Ornette Coleman ‘ Live at the Circle vol. 1’
10.Freddie Hubbard ‘Breaking Point’

Hard Bop

01. Art Blakey ‘Mosaic’
02. Sonny Clark ‘Cool Struttin’’
03. Hank Mobley ‘Soul Station’
04. Jackie McLean ‘Bluesnik’
05. John Coltrane ‘Blue Train’
06. Tina Brooks ‘True Blue’
07. Freddie Hubbard ‘Goin’ Up’
08. Art Blakey ‘Indestructible’
09. Hank Mobley ‘Roll Call’
10. Joe Henderson ‘Mode for Joe’

Laid back Listening

01. Kenny Burrell ‘Midnight Blue’
02. Cannonball Adderley ‘Somethin’ Else’
03. Lee Morgan ‘Candy’
04. Grant Green ‘Street of Dreams’
05. Grant Green ‘Idle Moments’
06. Dexter Gordon ‘Gettin’ Around’
07. Lee Morgan ‘Cornbread’
08. Bobby Hutcherson ‘Happenings’
09. Sonny Clark ‘Leapin’ and Lopin’’
10. Ike Quebec ‘Blues and Sentimental’

Drippin’ in the blues

01. Don Wilkerson ‘Preach Brother’
02. Three Sounds ‘It just got to be’
03. Kenny Burrell ‘Midnight Blue’
04. Jimmy Smith ‘Home Cookin’’
05. Stanley Turrentine and Three Sounds ‘Blue Hour’
06. Horace Silver ‘Six Pieces of Silver’
07. Fred Jackson ‘Hootin’ and Tootin’’
08. Donald Byrd ‘Slow Drag’
09. Three Sounds ‘Out of this World’
10. Freddie Roach ‘Down to Earth’

Live Blue Note

01. Sonny Rollins ‘Live at the Village Vanguard Vol. 1/2’
02. Freddie Hubbard ‘Night of the Cookers Vol. 1/2’
03. Kenny Dorham ‘Round About Midnight. At the Cafe Bohemia’
04. Joe Henderson ‘Art of the Tenor. Live at the Village Vanguard Vol. 1/2’
05. Lee Morgan ‘Live at the Lighthouse’
06. Jazz Messengers ‘Night at Birdland’
07. Three Sounds ‘Live at the Lighthouse’
08. Stanley Turrentine ‘Up at Minton’s’ Vol. 1/2’
09. Art Blakey ‘Meet you at the Jazz Corner of the World’
10. Grant Green ‘Alive’

Fusion

01. Donald Byrd ‘Black Byrd’
02. Bobby Hutcherson ‘Now’
03. Bobby Humphrey ‘Blacks and Blues’
04. Horace Silver ‘Total Response’
05. Gene Harris ‘Astral Signal’
06. Donald Byrd ‘Places and Spaces
07. Duke Pearson ‘It could only happen with you’
08. Donald Byrd ‘Electric Byrd’
09. Bobby Humphrey ‘Fancy Dancer’
10. Ronnie Laws ‘Pressure Sensitive’

Latin

01. Kenny Dorham ‘Afro Cuban’
02. Duke Pearson ‘The Phantom’
03. Charlie Rouse ‘Bossa Nova Bacchanal’
04. Horace Parlan ‘Headin’ South’
05. Grant Green ‘Latin Bit’
06. Art Blakey ‘Holiday for Skins Vol. 2’
07. Duke Pearson ‘It could only happen with you’
08. Moacir Santos ‘Saudade’
09. Ike Quebec ‘Bossa Nova Samba’
10.Bobby Hutcherson ‘Montara’

Esoteric

01. Pete La Roca ‘Basra’
02. McCoy Tyner ‘Extensions’
03. Jackie McLean ‘Jacknife’
04. Elvin Jones ‘Coalition’
05. Herbie Hancock ‘Inventions and Dimensions’
06. McCoy Tyner ‘Expansions’
07. Andrew Hill ‘Dance with Death’
08. Jackie McLean ‘Action’
09. Wayne Shorter ‘All Seeing Eye’ or ‘Schizophrenia’
10. Bobby Hutcherson ‘Cirrus’

Modal

01. Search for the New Land - Lee Morgan (title track)
02. Message from the Nile - Wayne Shorter (’Extensions’)
03. Speak No Evil - Wayne Shorter (title track)
04. On the Nile - Jackie McLean (’Jacknife’)
05. Perception - Blue Mitchell (’Down with it’)
06. Ping Pong - Art Blakey (’Roots and Herbs’)
07. Little Bee’s Poem - Bobby Hutcherson (’Components’)
08. Maiden Voyage - Herbie Hancock (title track)
09. Khalil the Prophet - Jackie McLean (’Destination Out’)
10. Tom Thumb - Wayne Shorter (’Schizophrenia’)

The Latin Tinge en espanol

01. ‘Recorda me’ - Joe Henderson
02. ‘Una mas’ - Kenny Dorham
03. ‘Pensativa’ - Freddie Hubbard/Lee Morgan and Art Blakey versions
04. ‘Una muy bonita’ - Bobby Hutcherson
05. ‘Mira’ - Andrew Hill
06. ‘Un poco loco’ - Bud Powell
07. ‘Plaza de Toros’ - Larry Young
08. ‘Le Barrio’ - Joe Henderson
09. ‘Malaguena’ - Pete La Roca
10. ‘Uno esto’ - Bobbi Humphrey

Blue Note renaissance Post-1985

01. ‘From the Soul’ - Joe Lovano
02. ‘Blue Light ‘til dawn’ - Cassandra Wilson
03. ‘Reach’ - Jacky Terrasson
04. ‘Pianism’ - Michel Petrucciani
05. ‘Better Days’ - Dianne Reeves
06. ‘Live at Dizzy’s - Joe Lovano and Hank Jones
07. ‘Man in the Air’ - Kurt Elling
08. ‘Modern Cool’ - Patricia Barber (originally on Premonition)
09. ‘Native heart’ - Tony Williams
10.’Live at the Village Vanguard’ - Junko Onishi

Ripe for re-issue

01. ‘Wahoo’ - Duke Pearson
02. ‘Headin’ South’ - Horace Parlan
03. ‘Preach Brother’ - Don Wilkerson
04. ‘A New Conception’ - Sam Rivers
05. ‘Holiday for Skins vol. 1 & 2’ - Art Blakey (on vinyl. 2CD available)
06. ‘The way I feel’ - John Patton
07. ‘One for One’ - Andrew Hill
08.  ‘The Phantom’ - Duke Pearson
09. ‘Gooden’s Corner’ - Grant Green
10. ‘Mr. Natural’ - Stanley Turrentine

Hidden Gems

01. ‘Consequence’ Jackie McLean
02. ‘One for One’ Andrew Hill
03. ‘Heaven on Earth’ - Larry Young
04. ‘Stick Up’ Bobby Hutcherson
05. ‘A New Conception’ Sam Rivers
06. ‘Slow Drag’ Donald Byrd
07. ‘Extensions’ - George Braith
08. ‘Understanding’ - John Patton
09. ‘Sixth Sense’ Lee Morgan
10. ‘Easterly Winds’ - Jack Wilson

Japanese only (vinyl)

01. ‘Matador’ - Grant Green (available on EU CD)
02. ‘Poppin’ - Hank Mobley
03.. ‘Back to the tracks’ - Tina Brooks (available on Mosaic box set)
04. ‘Gooden’s Corner’ - Grant Green (available on EU 2CD)
05. ‘Oblique’ - Herbie Hancock (available on EU CD)
06. ‘Senor Blues’ vol. 2 (including vocal version) - Horace Silver (vocal available on EU CD)
07. ‘Cool Struttin’ vol. 2’ - Sonny Clark (extra tracks on EU CD of ‘Cool Struttin’)
08. ‘Round about Midnight at the Cafe Bohemia vol. 2/3’ - Kenny Dorham
09. ‘Jazz Messengers at Cafe Bohemia vol. 3’ - Art Blakey and The Jazz Messengers
10. ‘Patterns’ - Herbie Hancock

Orchestral Genius

01. Duke Pearson ‘The Phantom’
02. Herbie Hancock ‘Speak like a child’
03. Hank Mobley ‘Slice off the top’
04. Thad Jones and Mel Lewis ‘Consummation’
05. Duke Pearson ‘Right Touch’
06. Stanley Turrentine ‘The Spoiler’
07. Duke Pearson ‘Introducing Duke Pearson’s Big Band’
08. McCoy Tyner ‘Tender Moments’
09. Three Sounds ‘Coldwater Flat’
10. Donald Byrd ‘Fancy Free’

Artist profile: Larry Young (leader and sideman)

01. ‘The Moontrane’ (’Unity’)
02. ‘ I wish you love’ (’Street of Dreams’)
03. ‘Plaza de Toros’ (’Into Somethin’)
04. ‘Call me’ (’Heaven on Earth’)
05. ‘Seven steps to heaven’ (’Of Love and Peace’)
06. ‘I want to hold your hand’ (’title track’)
07. ‘Majestic Soul’ (’Contrasts’)
08. ‘Softly as in a morning sunrise’ (’Unity’)
09. ‘I’m an old cowhand’ (’Talkin’ about’)
10. ‘Love Drops’ (’Mother Ship’)

Hard to find LPs USA East coast (as opposed to rarest and more expensive) Fred Cohen - Jazz Record Center NY.

1. Fats Navarro ‘Vol. 2’ (1532 - flat rim)
2. Kenny Burrell ‘Blue Lights vol. 2’ (1597 mono - deep groove)
3. Art Blakey ‘Meet you at the Jazz Corner of the World vol.1’ (4054)
4. Kenny Dorham ‘Whistle Stop’ (4063)
5. Three Sounds ‘Feelin’ Good’ (4072 - W. 63rd St. labels, both sides)
6. Dexter Gordon ‘Doin’ All Right’ (4077 W. 63rd St. labels, both sides)
7. Jimmy Smith ‘Plays pretty for you’ (BST 1563 ST - deep groove, both sides)
8. Jackie McLean ‘New Soil’ (BST 84013 deep groove, both sides)
9. Lou Donaldson ‘Here ‘Tis’ (BST 84066 NYC pressing with ‘P’)
10. Donald Byrd ‘Cat Walk’ (84075 NYC pressing with ‘P’)

Top 10: Nick Hollier, collector, Birmingham

01. Jimmy McGriff ‘Electric Funk’. Career best LP and BN’s best funk LP too. ‘Nuff said.
02. Lou Donaldson ‘Alligator Boogaloo’. Lou invents jazz funk with the ‘new breed’ band, George Benson, Dr. Lonnie Smith and the finest purveyor of fatback, Idris Muhammad.
03. Lou Donaldson ‘Natural Soul’. Epitome of soul jazz with the soul jazz house band of Grant Green, Big John Patton, Ben Dixon.
04. Hank Mobley ‘Roll Call’. Hard bop never came harder or boppier. Intense and hard driving. Blakey, Hubbard, Kelly and Chambers all immense.
05. Horace Silver and the Jazz Messengers ‘s/t’ From when it [the Jazz Messengers] was Horace’s band. This creates the gospel funk template at Blue Note. See also ‘Live at the cafe Bohemia’.
06. Kenny Dorham ‘Una Mas’ Many top Latin flavas on Blue Note. Check out the title track. Cracking band with Henderson, Hancock and Williams.
07. Donald Byrd ‘Fuego’. Funky and fiery playing.
08. Bud Powell ‘Time Waits’ . Beautiful and emotional playing from the master of be- to and hard bop piano.
09. Freddie Roach ‘Mo Greens Please’ . An R & B jukebox party from start to finish.
10. Grant Green ‘The Latin Bit’ . I could have picked ten Grant Green LPs.

Top 10: Jessica Lauren (http://www.myspace.com/misodread)

1) Somethin’ Else - Cannonball Adderley
2) Takin’ Off - Herbie Hancock
3) The Sermon - Jimmy Smith
4) Blue Train - John Coltrane
5) Speak No Evil - Wayne Shorter
6) Moanin’ - Art Blakey
7) Think! - Lonnie Smith
8) Hand Jive - Jon Scofield (featuring Eddie Harris)
9) The Cape Verdean Blues - Horace Silver (to be honest I could’ve chosen 10 Horace albums!)
10) The Complete Genius - Thelonious Monk

Somethin’ Else: The Story of Blue Note Records and the Birth of Modern Jazz

Hardcover: 320 pages
Publisher: Viking Books (30 Sep 2009)
Language English
ISBN-10: 0670020664
ISBN-13: 978-0670020669

The first comprehensive, full-length history of the greatest jazz label of all time

Founded in 1939, the record label Blue Note defined modern jazz. With a roster of artists including Miles Davis, John Coltrane, and Thelonious Monk, Blue Note revolutionized both the recording industry and American music like no other label before or since. Now, for the first time, this legendary house receives the full-length history it deserves, timed for the celebration of its seventieth anniversary. Jazz scholar Ashley Kahn has obtained unprecedented access to Blue Note archives and interviews with more than seventy musicians, producers, engineers, and journalists, yielding a treasure trove of anecdotes, documents, photographs, and recordings. Kahn traces the history of the label from its founding through its brilliant string of genre-defining albums in the 1950s and 60s, its influential fusion of jazz and R&B rhythms in the 70s, and its contemporary rebirth as the home of popular vocalists Bobby McFerrin, Cassandra Wilson, and Norah Jones. For the aficionado and the casual fan alike, Somethin’ Else is the definitive chronicle of an essential American institution.

Ashley Kahn, a music historian and producer, is the author of three previous books on jazz, and a regular commentator on NPR’s Morning Edition. His journalism has appeared in The New York Times, The Wall Street Journal, Rolling Stone, Downbeat, and Jazz Times.

Top 10: Seymour Nurse (www.thebottomend.co.uk)

1) It Could Only Happen With You - Duke Pearson
2) Silver ‘n Wood - Horace Silver
3) The Essence Of Mystery - Alphonse Mouzon
4) Think - Lonnie Smith
5) Silver ‘N Percussion - Horace Silver
6) Street Lady - Donald Byrd
7) Satin Doll - Bobbi Humphrey
8) Cheshire Cat - Ronnie Foster
9) Saudade - Moacir Santos
10) VA - Blue Brazil 3 (Blue Note In A Latin Groove) - Compiled By Mark G.V Taylor

Top Ten: Daniel Richard (Lido Musique/Les mondes du Jazz/Universal Jazz France)

01) Bud Powell 1503/04 The Amazing Bud Powell Vol. 1& 2
02) Thelonious Monk 1510/11 Genius of Modern Music Vol. 1 & 2
03) Gil Mellé 1517 Patterns in Jazz
04) Sonny Rollins 1581 A Night at the Village Vanguard
05) Jackie McLean 4106 Let Freedom Ring
06) Eric Dolphy 4163 Out to Lunch
07) Andrew Hill 4167 Point of Departure
08) Anthony Williams 4180 Life Time
09) Don Cherry 4226 Complete Communion
10) Cecil Taylor 4237 Unit Structures

Top Ten: Raul A. Mao, Editor of Cuadernos de Jazz, Spain’s premier Jazz review

1) Genius of Modern Music Vol. 1-2: Thelonious Monk
2) Horace Silver and The Jazz Messengers Vol 1: Horace Silver
3) Blue Train: John Coltrane
4) Ready for Freddie: Freddie Hubbard
5) One Step Beyond: Jackie McLean
6) Idle Moments: Grant Green
7) The Sidewinder: Lee Morgan
8) Point of Departure: Andrew Hill
9) Out to Lunch: Eric Dolphy
10) At the Golden Circle Stockhholm Vol. 1: Ornette Coleman

Top 10: Mark de Clive-Lowe, http://www.markdeclivelowe.net/

01) Andrew Hill - Lift Every Voice
02) Donald Byrd - Stepping into Tomorrow
03) Eddie Henderson - Heritage
04) Eric Dolphy - Out to Lunch
05) Gene Harris - Nexus
06) Herbie Hancock - Empyrean Isles
07) Herbie Hancock - The Prisoner
08) Joe Henderson - Inner Urge
09) McCoy Tyner - The Real McCoy
10) Wayne Shorter - Speak No Evil

Top 10: Paul Bradshaw, publisher, Edge 09, Straight No Chaser, Chaser Publications

01) Kenny Dorham - Afro Cuba
02) Horace Silver - Cape Verdean Blues
03) Jackie Mclean - Destination Out
04) Donald Byrd - Places & Spaces
05) Robert Glasper - Double Booked
06) Don Wilkerson - Preach Brother
07) Sabu - Palo Congo
08) Art Blakey - Holiday For Skins
09) Hank Mobley - A Caddy For Daddy
10) Ike Quebec - Soul Samba

TOP 10: Si G., Jazz Dealer, Vinyl Exchange, Manchester www.myspace.com/baldbeats

1) Bobbi Humphrey ‘Blacks & Blues’
2) Grant Green ‘Alive’
3) Gene Harris & the Three Sounds ‘Gene Harris / 3 Sounds’
4) Bobby Hutcherson feat. Harold Land ‘San Francisco’
5) Ronnie Foster ‘Mystic Brew’
6) Donald Byrd ‘Steppin’ Into Tomorrow’
7) Lonnie Smith ‘Move Your Hand’
8) Donald Byrd ‘Kofi’
9) Andrew Hill ‘One by One’
10) Madlib ‘Shades of Blue’ (Madlib invades Blue Note)

TOP 10: Fred Cohen, Jazz Record Center, New York

1) 4049 Art Blakey/Night In Tunisia
2) 4207 Freddie Hubbard/Night of the Cookers, Vol. 1
3) 1575 Lee Morgan/City Lights
4) 1519 Herbie Nichols/Trio
5) 4027 Freddie Redd/The Connection
6) 4051 Jackie McLean/Jackie’s Bag
7) 4140 Joe Henderson/Page One
8) 4283 Booker Ervin/The In Between
9) 4294 Eddie Gale/Ghetto Music
10)4302 Kenny Cox/Introducing

TOP 10: Les, Kingbee records, Manchester, kingbeerecords.co.uk

01) John Coltrane ‘Blue Train’
02) Lee Morgan ‘Sidewinder’
03) Kenny Burrell ‘Midnight Blue’
04) Jimmy Smith ‘Home Cookin’’
05) Tina Brooks ‘True Blue’
06) Dexter Gordon ‘Go’
07) Donald Byrd ‘Black Byrd’
08) Donald Byrd ‘Steppin’ into Tomorrow’
09) Cannonball Adderley/Ornette Coleman ‘Somethin’ Else’
10) Herbie Hancock ‘Maiden Voyage’

10 essential Blue Note moments—as picked by www.dustygroove.com

(Note that this list isn’t exactly a top ten—and is more of a list of titles we love from the label, and which have been very important to us over the years—even if they’re not all true “classics” in the standard sense.  Plus, it’s pretty damn hard to come up with just 10 of these for the label—because honestly, we love almost everything they’ve ever done—and the music of Blue Note has been a real inspiration to us over the years.)

1) Art Blakey/Roots & Herbs (1961)
--Incredible work from a legendary version of the Jazz Messengers—and even fresher than some of their oft-heard classics.  The rhythms are amazing, the horn parts sublime, and the writing keeps things interesting throughout.  We might put this one in a tie with Witch Doctor, which was also recorded at the time, but not issued until the end of the 60s!

2) John Patton/Blue John (1963)
--One of those “never issued at the time” albums on Blue Note—and a wonderfully weird little session!  The sound here is a lot more offbeat than some of Patton’s other albums for the label—even though those are all great too—with plenty of odd rhythms, and some key reedwork from the overlooked George Braith.

3) George Braith/Extension (1965)
--Actually, all three Blue Note albums by Braith are amazing—so it’s kind of hard to choose one—but Extension may well be the best by this overlooked reed player who did some incredible 60s work for the label.  Great modal grooves—and killer organ from Billy Gardner, plus guitar from Grant Green.

4) Bobby Hutcheson/Happenings (1966)
--We’re tempted to say “every Bobby Hutcherson record for Blue Note”—as they’re all so great, and the label forever changed the face of jazz by allowing Hutcherson such great exposure, in such a variety of ways.  All his records for the label are amazing—both inside and outside, electric and acoustic—but Happenings is also a real standout too, a sweet quartet session with a soaring modal vibe.

5) Lee Morgan/Lee Morgan (aka The Last Session) (1971)
--Incredible work from Lee Morgan—an amazing summation of all the genius he brought to Blue Note from the late 50s onward—served up in a double-length album recorded shortly before his death.  The scope of the music here is really amazing—and the record always has us wondering “what if?”—in relation to Morgan’s unlimited potential for jazz in years to come.  Plus, the record was a key moment in introducing the world to Billy Harper’s talents—which is even more reason to love it!

6) Duke Pearson/It Could Only Happen With You (1974)
--Incredible late work from the man who helped transform the sound of Blue Note at the end of the 60s—a brilliant blending of Brazilian rhythms and warm 70s fusion.  Flora Purim and Airto both make key appearances—and the blend of electric piano and vocals is sublime.

7) Gene Harris/Astral Signal (1974)
--Amazing breaks, killer keyboards, and a record with a cosmic vibe that’s possibly even more appreciated in the 21st Century than it was back in the day!  Harris’ conception here is amazing—let loose into George Duke/MPS territory, but with a more solid, soulful vibe overall.  Almost as much of an influence on the current generation’s love of Blue Note 70s as the Mizell-produced records for the label.

8) Horace Silver/Silver N Voices (1977)
--We love all of Horace Silver’s late 70s experiments for Blue Note—the “Silver N ___” series that still often gets overlooked, but which really shows Horace trying to do something new with his music. This one features amazing vocal work alongside the instrumental grooves—in a vibe that’s a hip 70s spiritual jazz extension of earlier “with voices” work on Blue Note by Donald Byrd—but a lot hipper overall.

9) VA/Blue Brazil (1993)
--A killer compilation of rare Brazilian work—put together by London DJ/collector Joe Davis—and an essential set that turned thousands onto the kind of Brazilian music that had previously only been the purview of UK and Japanese collectors.  Most of the work on here was not originally recorded by Blue Note—but the package is essential “revived” Blue Note all the way—proof that the Blue brand could bring lots of new life to overlooked music!

10)Nicola Conte/Other Directions (2004)
--A superb recent recording for the label—although one that was oddly never issued in the US!  On his Blue Note debut, Nicola Conte serves up an amazing batch of large ensemble grooves—very much in the best modal traditions of the 60s European scene, with incredible vocals on some of the best tracks.  A record we treasure as much as most older classics on the label.

Charles Tolliver Big Band ‘Emperor March. Live at the Blue Note’ (Half Note) 4/5

Charles Tolliver returned to recording activity after a lengthy sabbatical with the acclaimed 2006 Blue Note album ‘With Love’. His live performances enthralled fans who were already familiar with his Strata East output (far less well known was his mid-1960s sojourn with the Gerald Wilson big band) and his latest album is in a live setting at the prestigious Blue Note club in New York from last summer. Tolliver’s big band features a rotating line-up and some of the ‘With Love’ members have been been replaced. The excellent Anthony Wonsey steps in for Robert Glasper on piano, Reggie Workman for Cecil McBee on bass and Gene Jackson for Victor Lewis on drums. Tolliver spent his formative years with Jackie McLean on Blue Note and one of these albums was ‘Jacknife’ which showcased a superb Tolliver composition, ‘On the Nile’. This number is revisited as the opening piece on ‘Emperor March’ and the modal magic of the original is retained on this lengthy composition which weighs in at thirteen and a half minutes, and is an undoubted album highlight. It is the album title track, inspired by a well known documentary on penguins, that impresses equally with it’s lilting, waltz like quality and a beautifully constructed reed section comprising flute and brass. Excellent ensemble work permeates the bright and breezy piece ‘Toughin’ while ‘Chedlike’ is a composition devoted to Tolliver’s son and features both flute and muted trumpet. Melodic is the only way to describe the ballad ‘I want to talk about you’ which rounds off proceedings. Informative sleeve notes courtesy of Blue Note expert and all-round jazz aficionado Michael Cuscuna round off a truly exceptional live recording. Half Note are making a virute out of this setting and the present recording stands favourable comparison with last year’s McCoy Tyner album.  Tim Stenhouse

Freddie Hubbard ‘Without a Song: Live in Europe 1969’ (Blue Note) 4/5

Among the pantheon of famous trumpeters who recorded for Blue Note such as Clifford Brown, Fats Navarro and Lee Morgan, Freddie Hubbard deserved a place alongside these all-time greats. From the early promise of ‘Open Up’ in 1960(long overdue for CD re-issue)and the compositional talent of ‘Ready for Freddie’ through to the mid-nineteen-sixties exploration of the avant-garde on ‘Breaking Point’ and the sublime live duets with Lee Morgan on ‘Night of the Cookers’, Hubbard recorded a long and lasting legacy for the label. This was cemented further by the sojourn with the Jazz Messengers and especially the albums ‘Mosaic’ and ‘Free for All’.  With this in mind, it is especially pleasing that this unissued live recording has been unearthed from the vaults for it finds the trumpeter in full flow on a varied set of compositions. An excellent line up comprises of Roland Hanna, Ron Carter and Louis Hayes on piano, bass and drums respectively. One of the highlights of the set (recorded at three different venues during the same period at the Royal Festival Hall, London, Bristol and an unidentified city in Germany) is the rendition of ‘Night in Tunisia’ which was a Messengers staple, but not one that this writer recalls Freddie playing with them on vinyl at least. Hi-hat cymbals from Hayes and the clarity of tone from Hubbard give this a distinctive Latin tinge. The seldom recorded Red Garland piece ‘Blues by Five’ affords the band an opportunity to shine collectively while the ballad standard ‘Body and Soul’ (which Hubbard recorded for Impulse)is an indication of how prettily the trumpeter could play. In direct contrast the self-penned ‘Space Track’ hints at the freer side of the musician, though not a composition that Hubbard recorded on ‘Breaking Point’ which would have been a logcial bedfellow. An excellent and very welcome issue, then, that both commemorates the loss of one of jazz’s finest and showcases the diverse facets to Freddie Hubbard’s career.

Specialised top ten of Blue Note albums.

10) Duke Pearson ‘The Phantom’ (84293 LP/Toshiba Japan CD/US CD Water 2004)

To some jazz fans Duke Pearson may appear a strange choice in a heavyweight top ten of Blue Note albums. However, in his various capacities as composer, band leader, studio pianist, producer of other artists and a-and-r man, Duke was a Blue Note man through and through, and typified the Blue Note sound in its myriad forms: piano trio; horn led sextet; big band. What differentiates ‘The Phantom’ from the other albums Pearson recorded on the label is the highly original line up of musicians. After a series of critically acclaimed sextet and big band albums (’Right Touch (4267, 1967), ‘Introducing Duke Pearson’s Big Band’(4276, 1967), he could have been forgiven for continuing in the same vein. Instead Pearson opted for a hornless larger ensemble that comprised two guitarists, a rhythm section of drummer and two percussionists, flutist Jerry Dodgion and the highly unsual addition of vibraphinst Bobby Hutcherson, who it should be remembered at this stage had become increasingly involved in what became known as the avant-garde. The result was a total one-off in the Blue Note catalogue that, while different in line up, most closely resembles the impressionistic ‘Speak like a child’ album by Herbie Hancock from the same year in its use of layered orchestral texture, yet achieves an entirely different sound with a distinct nod to Latin rhythms. Interestingly a common thread in both albums is the participation of Jerry Dodgion on flute. Duke Pearson had clearly been influenced by composers in Latin America, notably Antonio Carlos Jobim, yet ‘The Phantom’ is no mere pastiche of bossa nova and incorporates elements of Afro-Cuban music into the overall sound.

An early milestone in Pearson’s career had been achieved in 1964 with the release of ‘Wahoo’ which could easily have been a candidate for the top ten selection. Compositionally ‘Wahoo’(4191, 1964) was a masterpiece in its evoking of Eastern and Latin musical sounds in pieces such as ‘Bedouin’ and ‘Amanda’ and in general portraying far off places in musical form was a particular passion of Duke’s. Equally in the same year Pearson was part of the Grant Green album ‘Idle Moments’ (featuring Bobby Hutcherson) that featured a larger ensemble in more reflective mood and it was possibly both these recordings that convinced Pearson that new sounds could be explored with larger ensembles. The album ‘The Phantom’ begins with the lengthy, languid title track which sets the tone for the rest of the album and is a favourite of DJ Gilles Peterson who enthuses thus in his sleeve notes to the Japanese CD release: ‘The rhythm grooves with both stabbing ridim guitar and piano nudged along by Patato’s [Valdes] guiro. The flute floats bu conjuring up the melodies and Hutcherson drops the vibes on the dark side. Dangerous’. In a more conventional vein and taking a leaf out of the Jobim songbook is ‘Bunda Amerela’, yet even this has an unusual time theme. In between these two compositions is an older piece, ‘Blue for Alvina’, that Duke recorded previously and here is a vehicle for the trio only to shine. Side two goes into Afro-Cuban mode with the lengthy ‘Los Ojos Alegres’. However, for this listener the best is reserved for last with the highly unusual ‘The Moana Surf’, an extended piece in which Hutcherson and Dodgion stretch out with incessant percussion provided by Pantojo and Valdes. After recording this Duke Pearson was obviously bitten by the Brazilian bug and went on to record another two albums in a similar vein with ‘Now hear this’ (4308, 1968) and ‘How Insensitive’ (4344, 1969). Nonetheless, as fine as these two were (and a third unreleased session would later emerge from the same period), they do not come near to eclipsing the uniqueness of ‘The Phantom’. Sadly, multiple sclerosis cut short both his musical career and ultimately life and Duke Pearson passed away at the young age of fifty-eight. However, the music will live on forever and ‘The Phantom’ deserves a place in the pantheon of Blue Note albums because of its innovations in arrangement, composition and texture.

Jackie McLean ‘Bluesnik’ (Blue Note) 5/5

Altoist Jackie McLean was one of the most consistent performers on the Blue Note label during the 1960s and unquestionably his very best recordings were cut for the label after a somewhat checkered career in the 1950s. Of his early tenure at Blue Note, ‘Bluesnik’ is by far the most accomplished before he changed direction with ‘Destination out’ and One step beyond’, and features a crack rhythm section of pianist Kenny Drew and drummer Pete La Roca plus a dream pairing of McLean with trumpeter Freddie Hubbard. The tone is set by the opening title track which starts at a blistering pace with Hubbard and McLean trading licks. In contrast ‘Cool Green’ exudes blues-inflected hues and the album bubbles with red hot passion throughout on composiitons such as ‘Blues function’ and ‘Goin’ way blues’. Given the success of the partnership between Hubbard and McLean, one wonders why they never recorded together for the label again. Only Lee Morgan on ‘Consequence’ got anywhere this degree of intensity with Woody Shaw playing the role of Hubbard sound alike. Superlative hard bop.

Horace Parlan ‘Up and Down’ (Blue Note) 4/5

Underrated pianist Horace Parlan became most familiar to Blue Note cognoscenti mainly as a result of his sideman duties on the early 1960s reocrdings, notably for Dexter Gordon and Stanley Turrentine. Trio outings cemented his reputation and rivalled those of the Three Sounds. This 1961 album catches him in peak form with a dream rhythm section comprising Texan tenorist Booker Ervin, who seldom recorded for Blue Note (though returned for ‘Grass Roots’ for Andrew Hill in the late 1960s), but cut a series of key albums for Prestige, the established rhythm section of Al Harewood and George Tucker and of course the bluesy guitar licks of Grant Green. If this is only marginally short of a five star rating, it is because the original compositions themselves never really caught on. Strange when one listens to key tracks such as ‘The book’s beat’ and the title track. However, the playing is impeccable throughout. A very welcome re-issue and one hopes that the Latin-influenced ‘Movin’ South’, long sought after by collectors, will be among future re-releases.

Grachan Moncur III ‘Some other stuff’ (Blue Note) 4/5

Trombonist Grachan Moncur recorded relatively few albums in his career and only two for Blue Note in addition to sideman duties for Jackie McLean and the delightfull ‘All seeing eye’ for Wayne Shorter who shares horn duties here. Primarily associated with the avant garde, but a highly melodic player nonetheless, Moncur was at first tentatively recorded by Alfred Lion at Blue Note, but as time went on some of the decisive moments of the avant garde were chronicled by the label, notably the albums of Andrew Hill, Cecil Taylor and Larry Young not to mention individual projects for Ornette Coleman and Eric Dolphy. Moncur had previously recorded the superb ‘Evolution’ for Blue Note a year previously, but ‘Some other stuff’ in its content and line up resembles far more Tony Williams’ ‘Spring’, also from 1964. The classic mid-1960s Miles Davis Quartet was showcased here before officially recording with Davis and this is the major part of the interest for jazz fans. Four extended pieces stretch the band members. Most akin to ‘Evolution’ in form is the more conventional ‘Thandiwa’ where the quartet play beautifully as an ensemble while ‘The Twins’ last almost thirteen minutes and allows Moncur to stretch out. Certainly ‘Some other stuff’ does not have the same immediacy as ‘Evolution However, it more than repays the effort of repeated listening, and historically is an important precursor to the mid-1960s musings of Miles Davis.

Stuart Chalk’s Top Ten Blue Note Recordings

Stuart Chalk’s Top Ten Blue Note Recordings (In no particular order of merit)

Hmmm....this was a hard task - but very enjoyable.  So many fantastic albums, moods, shades and styles to choose from. This was a constantly shifting and changing list, so many worthy candidates and so many fantastic memories wrapped up in them. Tough decisions had to be made!

In the end the selection was based upon those albums that hold a special place in my heart, might have showed me a new direction, introduced me to new artists or are simply just fantastic records that repeatedly visit the record deck.

1. Art Blakey & The Jazz Messengers - “ Mosaic” (1961)

I first heard this record 23 years ago when I was 17. It made a huge impression on me. My friend, Nic Vipond, had a load of old jazz records given to him by his Dad, and “Mosaic” was one of them. I remember clearly, sitting in his bedroom late one night listening to it. I’d never really heard anything like it, yet it all seemed strangely familiar and accessible, and at the same time, new, adventurous, dark and mind expanding.
What a recording this is!  Every tune hits the spot, from the lightning quick tempo of the title track to the Eastern influenced “Arabia”, the frustratingly familiar (I’ve never figured out why, but it is!) “Down Under” to the awesome “Children of the Night” and “Crisis”. Wayne Shorter is phenomenal throughout and his solos are ingrained in my mind - every honking, spiralling note. Listen to Blakey shout his approval at the end of Shorter’s solo on “Arabia"- you can almost imagine being there, listening to geniuses at the top of their game. Essential!

2. Bobby Hutcherson - “Now” (1969)

Dark, dramatic, edgy, unique, powerful, emotional, complex, meaningful, - just some of the words that spring to mind when listening back to this incredible record. I can’t think of another album like it. For me, it’s Bobby Hutcherson’s best recording.
First hearing this back in the very early ‘90’s (’90?) I was immediately drawn to the unusual, fresh sounding vocals of Eugene McDaniels. Such a unique and instantly recognizable vocal style. Who was this guy?  Had he recorded anything else? Of course, back then, there wasn’t any internet to answer these questions. Thanks to this album I was made aware of his presence and put on course to track down his other recordings. For that alone, this album goes into my top ten, but it’s the music within that qualifies it’s inclusion. I couldn’t pick a favourite tune from here. They are all masterpieces.

3. Joe Henderson - “Mode For Joe” (1966)

This 1966 album could very easily be my favourite jazz album of the lot! Free flowing, fluid, exciting jazz music. I didn’t want to use the word “cool” in my description of these records but the title track is just that - “cool”. Almost effortless sounding in it’s execution, Bobby Hutcherson’s solo lifting it to the heights. Cedar Walton (the composer of the tune) not getting a solo until the very end of the track, on the fade out - but it works. Somehow!  The rest of the album follows in similar fashion held together by the most wonderful drumming skills of Joe Chambers.
A gem of the Blue Note catalogue.

4. Grant Green - “Idle Moments” (1963)

This one just keeps finding it’s way back onto the record player. It is truly a most beautiful and delicate record. Grant Green’s best. If you’re looking for the funky side of Grant Green you’ll be disappointed. If, on the other hand, you’re looking for a guitarist displaying his artistry and mastery of the instrument, you’ll be rewarded. The title track is like a cool breeze blowing over you. Subtle, melodic and tinged with melancholy. “Nomad” has more drive but still exhibits all the descriptions present in the title track.  Grant Green’s solos, soar, sing, and make your heart ache. Beautiful.

5. Bobbi Humphrey - “Fancy Dancer” (1975)

If I wish to be transported back to the late 80’s, I put this album on, and I’m young and foolish once more!  The Mizell brothers had to make an appearance in this list and this is the choice of the lot, for me anyway. This was my introduction to these maestros of production, I hadn’t got hold of the Donald Byrd albums yet, but I had heard of Bobbi Humphrey and the “Blacks And Blues” lp.
I bought “Fancy Dancer” blind in ‘88/’89 from a mail order company for £12 (maybe Soul Explosion) purely because I’d heard of Bobbi Humphrey and it was on Blue Note. I wasn’t disappointed. It was an important record for me in many ways, because until recently, I’d been very much a straight-ahead jazz man, very much on the fringes of the fusion/funk world, but finding my way into it gradually. This record, along with Johnny Hammond’s “Gambler’s Life”, and Lonnie Liston Smith’s “Renaissance” were the catalysts for me. A turning Point that changed everything.
Every tune on this album is a beaut. I’ll say no more.

6. Big John Patton - “Let ‘Em Roll” (1965)

The addition of Bobby Hutcherson to this record lifts it above the other organ-lead combos of the time. This record swings. It’s clean, bright, joyous music. “ Latona” will always be a unique, unequalled tune from this genre (maybe Larry Young’s Plaza De Toros comes close) A classic.

7. Horace Silver Quintet - “The Cape Verdean Blues” (1965)

This album will forever have a special place in my collection. Why?  The lushness of the cover maybe, the yellowing on the back of the sleeve, the pink import stamp that reads “Mecolico”, the weight of the vinyl.  I love original Blue Note albums and this was one of the first I got my hands on back in ‘88. The music is special too!
The title track had appeared on one of the first jazz compilations that focused on the club culture of the time - “Blue Bossa” was it’s title, released in 1986.  It also featured the aforementioned “Latona” and I was determined to get the original albums that every track came from.
This is a great album. From the monstously fast and hard “Nutville”, to the rolling, rhythms of the title track, but the standout tune for me is the waltzing “Pretty Eyes”. Stick it on, breath it in. Blue Note sound personified.

8. Grant Green - “Carryin’ On” (1969)

The Funkier sound of Mr Green is illustrated very well here, with covers of James Brown and The meters. But the reason this album made it into the 10 is purely for the wonderful version of “Hurt So Bad”. I’ve played this tune SO many times, mostly at home, but also occasionally playing out. It always gets a response, always makes me smile, and always has me whistling along to every note of Grant Green’s and Claude Bartee’s solos. Pure and simple.

9. Larry Young - “Contrasts” (1967)

Probably the most obscure album on the list and not one that would spring to mind with most,but I love this record. “Majestic Soul” is 12 minutes of funky insanity, followed by the much needed relaxation of “Evening”. On the flip we have unexpected vocals from Althea Young with a dark and slightly twisted version of “Wild is The Wind”, and then into the highlight of the session, the uplifting “Tender Feelings”.
An excellent and unusual organ lead session, exploring new and familiar territories.

10. Kenny Dorham - “Afro Cuban” (1955)

This could be in the list for the cover art alone!  Add to that a 1955 recording, fusing Afro Cuban rhythms with jazz, throw in Art Blakey, Horace Silver, Hank Mobley, Oscar Pettiford, Jay Jay Johnson and Carlos “Potato” Valdes and you have an exciting, unusual session that blew me away the first time I heard a track from it.
Central TV made a programme about Art Blakey back in the mid 1980’s - I think it was for the South Bank Show, around about the time I was getting into jazz,proper. One of the first tunes played as background music on the show was Kenny Dorham’s “ Afrodisia”, though I didn’t know what the hell it was at the time. I just knew that I had to get it!! It was like I’d been waiting for this tune, this moment, all my life. It was so familiar.
Luckily for me, a few months later, Gilles Peterson compiled “Blue Bossa”, and for a jazz starved young Brummie lad like myself, it was a breath of fresh air. Guess what the first track was? Yes..."Afrodisia" I couldn’t believe my ears. There it was.
“It’s that track, it’s that track!!!”
There was no turning back.
It took a few years before I managed to get hold of the album “Afro Cuban” - many frustrating years, but when I did it was a special moment.
This album and especially that track changed my life and therefore it HAS to be in the 10.