Clifford Jordan - Night of the Mark VII [1975/FLAC]

 

Night of the Mark VII is a live album by saxophonist Clifford Jordan which was recorded in 1975 and first released on the Muse label.

•     Clifford Jordan – tenor saxophone
•     Cedar Walton – piano
•     Sam Jones – bass
•     Billy Higgins – drums

1.     "John Coltrane" (Bill Lee) – 7:45
2.     "Highest Mountain" (Clifford Jordan) – 6:02
3.     "Blue Monk" (Thelonious Monk) – 7:20
4.     "One for Amos" [listed as Midnight Waltz on all issues] (Sam Jones) – 10:53
5.     "Midnight Waltz" [listed as One for Amos on all issues] (Cedar Walton) – 10:49

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}

Blue Note Works 1500 series Vol.1551-1565

  

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.1551- Jimmy Smith- 1957- Jimmy Smith At The Organ Volume 1
BN.1554- Art Blakey- 1957- Orgy In Rhythm Vol. 1
BN.1555- Art Blakey- 1957- Orgy In Rhythm Vol. 2
BN.1556- Jimmy Smith- 1957- The Sounds Of Jimmy Smith {RVG Remaster}
BN.1557- Lee Morgan- 1957- Lee Morgan Vol.3 {RVG Remaster}
BN.1558- Sonny Rollins- 1957- Volume Two {RVG Remaster}
BN.1559- Johnny Griffin- 1957- A Blowin' Session {RVG Remaster}
BN.1560- Hank Mobley- 1957- Hank {RVG Remaster}
BN.1561- Sabu Martinez- 1957- Palo Congo
BN.1562- Horace Silver- 1957- The Stylings Of Silver {RVG Remaster}
BN.1563- Jimmy Smith- 1957- Plays Pretty Just For You
BN.1564- Paul Chambers- 1957- Paul Chambers Quintet {RVG Remaster}
BN.1565- Cliff Jordan- 1957- Cliff Jordan {RVG Remaster}

Blue Note Works 1500 series Vol.1541-1550

 

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.1541- Lee Morgan- 1956- Lee Morgan Vol.2. Sextet {RVG Remaster}
BN.1542- Sonny Rollins- 1956- Sonny Rollins Vol.1
BN.1543- Kenny Burrell- 1956- Kenny Burrell Volume 2
BN.1544- Hank Mobley- 1957- Hank Mobley and His All Stars
BN.1545- Lou Donaldson- 1957- Wailing with Lou
BN.1546- Thad Jones- 1957- The Magnificent Thad Jones Vol.3
BN.1547- Jimmy Smith- 1957- A Date With Jimmy Smith, Vol. 1
BN.1548- Jimmy Smith- 1957- A Date With Jimmy Smith, Vol. 2
BN.1549- Clifford Jordan & John Gilmore- 1957- Blowing In From Chicago {RVG Remaster}
BN.1550- Hank Mobley- 1957- Hank Mobley Quintet {RVG Remaster}

Clifford Jordan - The Complete Strata - East Sessions [6 CD, 2013/FLAC]

 

A really amazing set of work from tenorist Clifford Jordan – a player who first rose to fame in the hardbop scene of the late 50s, but who moved into tremendous new territory with these Strata East recordings of the late 60s and early 70s! Jordan was a Chicago contemporary of players like Johnny Griffin and Von Freeman, but he was never content to rest on his laurels – and stretched out on these records with a spiritual vibe that he'd never expressed before – and which would go onto inspire countless other musicians in years to come! This set brings together all the Dolphy Series recordings that Jordan recorded – either as an artist or producer – two of which were never issued on record at the time. Jordan's own albums for the label are wonderful enough – the double-length Glass Bead Games, one of our favorite records ever – and the killer In The World, which is great too. But this set also adds in other Strata East albums that really help illustrate the scene in which Jordan was working – including the excellent Pharoah Sanders non-Impulse session, Izipho Zam; the modern music of Charles Brackeen on Rhythm X, with Don Cherry on trumpet and Brackeen on tenor; and the great Cecil Payne album Zodiac, which has some of the last trumpet work ever from Kenny Dorham. Plus, the set also features two extremely rare albums – the never-issued Shades Of Edward Blackwell – led by the drummer, with Don Cherry on trumpet and Luqman Lateef on tenor, plus a bit of log drum from Jordan – and the obscure Super Bass album from Wilbur Ware, which features Jordan on tenor, in a quartet with Ware on bass, Don Cherry on trumpet, and Ed Blackwell on drums! These two albums are worth the price of the package alone – even if you have other Strata East albums in your collection – and the whole thing features the usual sublime Mosaic package and booklet.