Showing posts with label Bennie Green. Show all posts
Showing posts with label Bennie Green. Show all posts

Blue Note Works 4000-4100 series [4001-4014]

 

...The Modern Jazz Series continued into the 1970s with the LPs listed below. Many were issued in both monaural versions (BLP series) and stereo versions (BST 84000 series).  Most of the 4000 series have been reissued by Toshiba-EMI in Japan ("Blue Note Works 4000" series); the catalog numbers are TOCJ-4###


 



BN.4001- Sonny Rollins- 1957- Newk's Time {RVG Remaster}
BN.4002- Jimmy Smith- 1958- House Party {RVG Remaster}
BN.4003- Art Blakey & The Jazz Messengers- 1958- Moanin' {RVG Remaster}
BN.4004- Art Blakey- 1958- Holiday for Skins, Vol.1
BN.4005- Art Blakey- 1958- Holiday for Skins, Vol.2
BN.4006- Dizzy Reece- 1958- Blues In Trinity
BN.4007- Donald Byrd- 1958- Off to the Races {RVG Remaster}
BN.4008- Horace Silver- 1959- Finger Poppin' {RVG Remaster}
BN.4009- Bud Powell- 1958- The Scene Changes. The Amazing Bud Powell (Vol. 5) {RVG Remaster}
BN.4010- Bennie Green- 1959- Walkin' & Talkin'
BN.4011- Jimmy Smith- 1958- The Sermon! {RVG Remaster}
BN.4012- Lou Donaldson with The Three Sounds- 1959- LD+3
BN.4013- Jackie McLean- 1959- New Soil
BN.4014- The Three Sounds- 1959- Bottoms Up!

Blue Note Works 1500 series Vol.1591-1599

 

Blue Note Records is an American jazz record label, owned by Universal Music Group and currently operates in conjunction with Decca Records. Established in 1939 by Alfred Lion and Max Margulis, it derives its name from the characteristic "blue notes" of jazz and the blues. Originally dedicated to recording traditional jazz and small group swing, from 1947 the label began to switch its attention to modern jazz. While the original company did not itself record many of the pioneers of bebop, significant exceptions are Thelonious Monk, Fats Navarro and Bud Powell.

Many great jazz musicians recorded for Blue Note, but the man responsible for the quality of label’s recordings – their high dynamic and tonal range and lifelike presence – was sound engineer, Rudy Van Gelder. It was his recording equipment, choice and placement of microphones, the work at the mixing desk, the selection and rejection of takes, and the active supervision of the whole recording process from monitoring the dials through to cutting of the master lacquer, that created the “Blue Note sound”.

Van Gelder always sought to be at the forefront of recording technology – the Scully lathe he used for cutting lacquer masters was the first to feature variable pitch/depth control to optimise groove-width and loudness. He deployed the newest Neumann/ Telefunken U-47 condenser microphone, which he had specially modified for use very close to instruments. His recordings were made on the latest Ampex tape recorders.

Blue Note made the switch to 12" LPs late in 1955. The Modern Jazz Series continued with the following 12" LPs. Many of these were issued in both monaural versions (BLP series) and stereo versions (BST 81500 series), sometimes in electronically rechanneled stereo. In certain cases, the stereo versions of recordings from 1957 onwards only appeared many years later. Beginning in 1956 with BLP 1509, Reid Miles designed most of the Blue Note LP covers. The 1500 series has been systematically reissued by Toshiba-EMI in Japan ("Blue Note Works 1500" series, 20-bit 88.2 kHz CDs); the catalog numbers are TOCJ-1501, etc.

 



BN.1591- Lou Donaldson- 1958- Lou Takes Off {RVG Remaster}
BN.1592- Sonny Clark- 1957- Sonny Clark Quintet (not released)
BN.1593- Lou Donaldson- 1958- Blues Walk
BN.1594- Louis Smith- 1958- Smithville
BN.1595- Cannonball Adderley- 1958- Somethin' Else {RVG Remaster}
BN.1596- Kenny Burrell- 1958- Blue Lights, Vol.1
BN.1597- Kenny Burrell- 1958- Blue Lights, Vol.2
BN.1598- Bud Powell- 1958- Time Waits. The Amazing Bud Powell (vol.4) {RVG Remaster}
BN.1599- Bennie Green- 1958- Soul Stirrin'

Blue Note Works 1500 series Vol.1581-1590

 

Blue Note Records is an American jazz record label, owned by Universal Music Group and currently operates in conjunction with Decca Records. Established in 1939 by Alfred Lion and Max Margulis, it derives its name from the characteristic "blue notes" of jazz and the blues. Originally dedicated to recording traditional jazz and small group swing, from 1947 the label began to switch its attention to modern jazz. While the original company did not itself record many of the pioneers of bebop, significant exceptions are Thelonious Monk, Fats Navarro and Bud Powell.

Many great jazz musicians recorded for Blue Note, but the man responsible for the quality of label’s recordings – their high dynamic and tonal range and lifelike presence – was sound engineer, Rudy Van Gelder. It was his recording equipment, choice and placement of microphones, the work at the mixing desk, the selection and rejection of takes, and the active supervision of the whole recording process from monitoring the dials through to cutting of the master lacquer, that created the “Blue Note sound”.

Van Gelder always sought to be at the forefront of recording technology – the Scully lathe he used for cutting lacquer masters was the first to feature variable pitch/depth control to optimise groove-width and loudness. He deployed the newest Neumann/ Telefunken U-47 condenser microphone, which he had specially modified for use very close to instruments. His recordings were made on the latest Ampex tape recorders.

Blue Note made the switch to 12" LPs late in 1955. The Modern Jazz Series continued with the following 12" LPs. Many of these were issued in both monaural versions (BLP series) and stereo versions (BST 81500 series), sometimes in electronically rechanneled stereo. In certain cases, the stereo versions of recordings from 1957 onwards only appeared many years later. Beginning in 1956 with BLP 1509, Reid Miles designed most of the Blue Note LP covers. The 1500 series has been systematically reissued by Toshiba-EMI in Japan ("Blue Note Works 1500" series, 20-bit 88.2 kHz CDs); the catalog numbers are TOCJ-1501, etc.

 


BN.1581- Sonny Rollins- 1957- A Night at the Village Vanguard {RVG Remaster}
BN.1582- Clifford Jordan- 1957- Cliff Craft
BN.1583- Curtis Fuller- 1957- Curtis Fuller Vol.3
BN.1584- Louis Smith- 1957- Here Comes Louis Smith {RVG Remaster}
BN.1585- Jimmy Smith- 1957- Groovin' at Smalls' Paradise vol.1 {RVG Remaster}
BN.1586- Jimmy Smith- 1957- Groovin' at Smalls' Paradise vol.2 {RVG Remaster}
BN.1587- Bennie Green- 1958- Back On The Scene
BN.1588- Sonny Clark- 1958- Cool Struttin' {RVG Remaster}
BN.1589- Horace Silver- 1958- Further Explorations {RVG Remaster}
BN.1590- Lee Morgan- 1958- Candy {RVG Remaster}

Bennie Green - Mosaic Select 3 (3 CD, 2003/FLAC)

 

Trombonist Bennie Green's Blue Note albums were almost completely overlooked until this Mosaic Select compilation appeared in 2003. The first session, originally issued as Back on the Scene, features Charlie Rouse joining Green in the front line. Green's up-tempo "Bennie Plays the Blues" is the best blowing vehicle, while he and Rouse both contribute lyrical solos in Melba Liston's "Melba's Mood." Pianist Gildo Mahones wrote three of the six tracks recorded for Walkin' & Talkin', with Eddy Williams taking Rouse's place. The overall session isn't up to Green's Blue Note debut, but his snappy blues "Walkin' and Talkin'" contains some of his hottest playing within this boxed set. Williams is also on hand for the ten selections first released in Japan as The 45 Sessions with pianist Sonny Clark, bassist Paul Chambers, and drummer Jerry Segal. The solos are consistently hot and the quintet never wraps things in a perfunctory manner as one would expect with recordings made for jukeboxes. All of the instrumentals rate high praise, especially the loping "On the Street Where You Live" and the leader's "Ain't Nothin' But the Blues." The addition of singer Babs Gonzales on the last three cuts mar some otherwise excellent performances. Tenor saxophonists Gene Ammons and Billy Root are on hand for the session which produced Soul Stirrin'. While the material on this date is uneven, Green's interpretation of "That's All" is very satisfying. Unfortunately, Gonzales appears for two more numbers. The last five songs come from a date led by tenor saxophonist Ike Quebec (eventually issued as Congo Lament), adding Stanley Turrentine, Milt Hinton, and Art Blakey to join Green and Clark. Green's exotic "Congo Lament" and Turrentine's upbeat "Cue's Pill" are impressive. Unlike the full-sized box set from Mosaic, this collection is in a small cubed package, but with many session photographs and the original liner notes for each date. 

  • Bennie Green - trombone
  • Joe Knight, Gildo Mahones, Sonny Clark - piano
  • Milt Hinton, Paul Chambers, Ike Isaacs, George Tucker - bass
  • Louis Hayes, Art Blakey, Al Dreares, Jerry Segal, Elvin Jones - drums
  • Babs Gonzales - vocal (on “Soul Stirrin', “Lullaby Of The Doomedon, “Encore”)
  • Billy Root, Gene Ammons, Ike Quebec, Stanley Turrentine,
  • Eddy Williams, Charlie Rouse - tenor sax