John Coltrane & Friends - Sideman: Trane’s Blue Note Sessions (3 CD, 2014/FLAC-HD)

  A collection of the legendary saxophonist’s sideman sessions for Blue Note Records from 1956-1957, when Coltrane was a regular member of the Miles Davis Quintet and played with pianist Thelonious Monk. This set, conceived by former Blue Note Records president Bruce Lundvall, marks the first time Coltrane’s sideman sessions for Blue Note have been collected in one place; albums include recordings led by Paul Chambers (Chambers’ Music, a.k.a. High Step, and Whims of Chambers), Johnny Griffin (A Blowing Session) and Sonny Clark (Sonny’s Crib).

• John Coltrane - saxophone
• Paul Chambers - double bass
• Sonny Clark - piano
• Johnny Griffin - saxophone

 

 

Blue Note Works 1500 series Vol.1566-1580

 

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.1566- Lou Donaldson- 1957- Swing And Soul
BN.1567- Curtis Fuller- 1957- The Opener {RVG Remaster}
BN.1568- Hank Mobley- 1957- Hank Mobley {RVG Remaster}
BN.1569- Paul Chambers- 1957- Bass on Top {RVG Remaster}
BN.1570- Sonny Clark- 1957- Dial 'S' for Sonny {RVG Remaster}
BN.1571- Bud Powell- 1957- Bud! The Amazing Bud Powell (Vol.3)
BN.1572- Curtis Fuller- 1957- Bone & Bari {RVG Remaster}
BN.1573- John Jenkins- 1957- John Jenkins with Kenny Burrell
BN.1574- Hank Mobley & Lee Mogran- 1958- Peckin' Time {RVG Remaster}
BN.1575- Lee Morgan- 1957- City Lights {RVG Remaster}
BN.1576- Sonny Clark- 1957- Sonny's Crib
BN.1577- John Coltrane- 1957- Blue Train {RVG Remaster}
BN.1578- Lee Morgan- 1957- The Cooker {RVG Remaster}
BN.1579- Sonny Clark- 1957- Sonny Clark Trio {RVG Remaster}
BN.1580- Johnny Griffin- 1957- The Congregation {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.1531-1540

 

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.1531- Fats Navarro- 1953- The Fabulous Fats Navarro Vol.1
BN.1532- Fats Navarro- 1953- The Fabulous Fats Navarro Vol.2
BN.1533- Johnny Griffin- 1956- Introducing Johnny Griffin {RVG Remaster}
BN.1534- Paul Chambers- 1956- Whims Of Chambers
BN.1535- Kenny Dorham- 1955- Afro-Cuban {RVG Remaster}
BN.1536- J.R. Monterose- 1956- J.R. Monterose {RVG Remaster}
BN.1537- Lou Donaldson- 1954- Quartet Quintet Sextet
BN.1538- Lee Morgan- 1956- Lee Morgan Indeed! {RVG Remaster}
BN.1539- Horace Silver- 1956- Six Pieces Of Silver {RVG Remaster}
BN.1540- Hank Mobley- 1956- With Donald Byrd & Lee Morgan

Johnny Griffin- The Complete Recordings 1960-1962 [2014]

 One of the all-time great tenor saxophonists, Johnny Griffin will go down in the annals of jazz as a performer easily able to negotiate the tricky harmonic changes and swift tempos of modern music. He'll also be remembered as a player who could masterfully interpret tender ballads, rivaling Ben Webster in that regard.

Johnny Griffin & Eddie Lockjaw Davis - Ow! Live at the Penthouse 1962 (2021/FLAC)

 Recorded live at The Penthouse Jazz Club in Seattle, Washington on May 30, 1962 and June 6, 1962

Official release of stellar, previously-unissued live recordings from jazz tenor saxophonists Johnny Griffin and Eddie Lockjaw Davis, captured at the Seattle Club Penthouse between May-June 1962.

Meticulous high-res transferred sound restoration from the original tapes.

Features interviews with saxophonist James Carter and drummer Kenny Washington, and includes newly commissioned essays by Ted Panken and Michael Weiss.

Nicknamed the Little Giant for his short stature and forceful playing, Johnny Griffin's career began in the early 1940s and continued until the month of his death in 2008. A pioneering figure in hard bop, Griffin recorded prolifically as a bandleader in addition to stints with pianist Thelonious Monk, drummer Art Blakey, in partnership with fellow tenor Eddie Lockjaw Davis and as a member of the Kenny Clarke/Francy Boland Big Band after he moved to Europe in the 1960s.Nicknamed the Little Giant for his short stature and forceful playing, Johnny Griffin's career began in the early 1940s and continued until the month of his death in 2008. A pioneering figure in hard bop, Griffin recorded prolifically as a bandleader in addition to stints with pianist Thelonious Monk, drummer Art Blakey, in partnership with fellow tenor Eddie Lockjaw Davis and as a member of the Kenny Clarke/Francy Boland Big Band after he moved to Europe in the 1960s.

Eddie Lockjaw Davis played with Cootie Williams, Lucky Millinder, Andy Kirk, Eddie Bonnemere, Louis Armstrong, and Count Basie, as well as leading his own bands and making many recordings as a leader. He played in the swing, bop, hard bop, Latin jazz, and soul jazz genres. Some of his recordings from the 1940s also could be classified as rhythm and blues.