Takin’ Off, My Point Of View, Inventions & Dimensions, Speak Like A Child, The Prisoner.

‘Classic Vinyl Series.’

‘Classic Vinyl Series.’

After two years’ preoccupation with the Miles Davis Quartet, here is Herbie in 1968, ready for the seventies, the old, uptight bebop instincts melting into the balmy, open, innocent textures of fluegelhorn, bass trombone and alto flute, and his own lightly beautiful playing.
‘Classic Vinyl series.’

Our Thing, In ‘N Out, Inner Urge, The State Of The Tenor Volumes 1 & 2.

His third Blue Note as leader, in 1964, with Kenny Dorham, McCoy Tyner, Richard Davis and Elvin Jones. Rhythmically rooted in Trane, unsurprisingly, but Dorham and especially Henderson go their own searching, purposeful ways. The first three are his own compositions. Ace.

‘Classic Vinyl Series.’

A cor-blimey line-up, and a masterpiece, recorded on the first day of spring in 1964. Dorham, Dolphy, Joe Henderson, Richard Davis, Tony Williams.
‘Classic Vinyl Series.’

‘Classic vinyl.’

In the ‘Blue Note Classic Vinyl’ series.

Right up there with Blacks & Blues, the flautist’s third LP collaboration with the Mizells is the triumphant culmination of her stint at Blue Note, kicking off with the glorious Latin jazz fusion of Uno Esta. The top-notch crew includes Dorothy Ashby, Julian Priester, Roger Glenn, and Harvey Mason.
Stylishly designed, like all six of her Blue Notes; featuring art-work by Barbara Nessim.

His first quartet session as leader — with Herbie, Joe Chambers and Bob Cranshaw. Seven BH originals and Maiden Voyage. A kind of breather, in amongst his experiments at this time; relaxed, gorgeous and atmospheric, with brilliant playing.
Warmly recommended.
‘Classic Vinyl series.’

Meditative, devotional music pondering racism and ancestorship, co-produced by Meshell Ndegeocello. Featuring the saxophonist’s usual quartet, plus vocalists for the first time — including Ganavya — who shine.

In the ‘Blue Note Classic Vinyl’ series.

‘Classic Vinyl.’

Reshapes of classics by Art Blakey, Horace Silver, Hank Mobley, Dexter Gordon, Kenny Burrell, and Eddie Gale, among others — with contributions from vibraphonist Joel Ross, trumpeter Marquis Hill, alto saxophonist Greg Ward, guitarists Matt Gold and Jeff Parker, bassist Junius Paul, and De’Sean Jones on tenor saxophone and flute. 
“When piecing everything together, I wanted to create a narrative that made the listener feel like they were falling into this space or a movement. I was really trying to make a record out of it, not just a series of tracks… The music that we’re making now is part of the same route and is connected, so I want to honor tradition and release something that people can vibe to.”

‘A never-before-issued live recording of McCoy Tyner and Joe Henderson leading a stellar quartet with bassist Henry Grimes and drummer Jack DeJohnette at the hallowed lost jazz shrine Slugs’ Saloon in New York City in 1966. Recorded by the legendary engineer Orville O’Brien — behind classic 1960s jazz albums such as Freddie Hubbard’s The Night of the Cookers and Alice Coltrane’s Journey to Satchidananda — the tape has been in DeJohnette’s personal archives for nearly 60 years.’

The rivetingly lucid, acrobatic expression of raw emotion characteristic of this altoist, fronting the same unit which had recently recorded Sonny Clark’s masterpiece Leapin’ And Lopin’, including Tommy Turrentine, Butch Warren and Billy Higgins.
Supposedly Clark came across the music of the opener knocking around Monk’s apartment. Amongst five JM originals, the title track shows how hard bop was too hip to sit still or look back. Sundu is a tasty Clark blues.

The more expensive new LP is in the all-analogue Blue Note 80 Vinyl series.

Scorcher. Crucial Jackie Mac, with Pete La Roca also on top form.
‘Classic Vinyl Series.’