This release contains Jimmy Smith's complete classic Sermon sessions for the first time ever on a single set, in chronological order. These are his only preserved collaborations with Lee Morgan, the formidable trumpet player whose life came to a tragic end after being shot by his girlfriend at the tender age of 33. Tenor saxophonist Tina Brooks is also featured here. The outstanding reedman would pass away at the age of 42 after a life of drug addiction and self abuse. When these recordings were made, all of these musicians were in their early or late twenties.
Showing posts with label Lou Donaldson. Show all posts
Showing posts with label Lou Donaldson. Show all posts
Jimmy Smith- Complete Sermon Sessions (1957-1958) (2 CD, 2009) [FLAC]
This release contains Jimmy Smith's complete classic Sermon sessions for the first time ever on a single set, in chronological order. These are his only preserved collaborations with Lee Morgan, the formidable trumpet player whose life came to a tragic end after being shot by his girlfriend at the tender age of 33. Tenor saxophonist Tina Brooks is also featured here. The outstanding reedman would pass away at the age of 42 after a life of drug addiction and self abuse. When these recordings were made, all of these musicians were in their early or late twenties.
Menovky:
Art Blakey,
Curtis Fuller,
FLAC,
Jimmy Smith,
Kenny Burrell,
Lee Morgan,
Lou Donaldson,
Tina Brooks
Lou Donaldson — The Complete Blue Note Lou Donaldson Sessions 1957-60 (6 CD, 2002/FLAC)
A soul survivor in every sense of the term, this alto saxophonist is one
of the few remaining jazz artists who made a major impact on the jazz
community via an extensive run with producer Alfred Lion and the Blue
Note label (Horace Silver being another Blue Note legend that comes to
mind). From his first recordings for the label with Art Blakey's Jazz
Messengers, it was clear that Lou Donaldson put melody and sound at a
premium, coming up with an amalgam that combined the creamy smoothness
of Johnny Hodges with the quicksilver bop inflections of Charlie Parker.
Over the course of some 20 albums that Donaldson would cut for Blue Note beginning with his first sessions in 1953, you can trace the course of popular jazz styles, from bop inflected quintets to soul jazz organ combos. The majority of this new six disc set covers the type of bebop fare that is the core of Donaldson's musical persona and much of this material has been available previously on compact disc, although there are a few items that could only be found previously on pricey Japanese imports.
For the record, the albums included herein are Wailing with Lou, Swing and Soul, Lou Takes Off, Blues Walk, LD + 3, The Time Is Right, Sunny Side Up, Light-Foot, Gravy Train, and Midnight Sun.
Lou Donaldson Quintet - Wailing With Lou (1957/2014/FLAC)
Wailing With Lou is an appropriate title for this enjoyable set of straight-ahead bop. Whether he's riding the propulsive rhythms of 'Caravan' or settling down into a ballad, Donaldson takes the center stage with his surprisingly full alto tone. He still displays a clear Charlie Parker influence, but he is beginning to break free and develop his own style. In particular, he relies on bluesy runs more than Bird, which give his music a soulful edge. But what makes Wailing With Lou so enjoyable is the hot interplay between Donaldson, trumpeter Donald Byrd, pianist Herman Foster, bassist Peck Morrison and drummer Art Taylor. All five musicians give enthusiastic, infectious performances. There's nothing out of the ordinary here -- just hard-driving bop and sensitive ballads, which are sure to please fans of the style.
- Lou Donaldson, alto saxophone
- Donald Byrd, trumpet
- Herman Foster, piano
- Peck Morrison, bass
- Art Taylor, drums
Recorded January 27, 1957 Van Gelder Studio, Hackensack
Produced by Alfred Lion
Engineered by Rudy Van Gelder
Digitally remastered
01. L.D. Blues (5:20)
02. Caravan (5:57)
03. Old Folks (6:20)
04. That Good Old Feeling (6:50)
05. Move It (5:53)
06. There Is No Greater Love (6:53)
Blue Note Works 4000-4100 series [4111-4125]
...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.4111- Grant Green- 1962- The Latin Bit {RVG Remaster}
BN.4112- Dexter Gordon- 1962- GO! {RVG Remaster}
BN.4113- Freddie Roach- 1962- Down To Earth {RVG Remaster}
BN.4114- Ike Quebec- 1962- Boss Nova. Soul Samba {RVG Remaster}
BN.4115- Freddie Hubbard- 1962- Hub-Tones {RVG Remaster}
BN.4116- Jackie McLean- 1962- Jackie McLean Quintet (not released)
BN.4117- Jimmy Smith- 1960- Back at the Chicken Shack {RVG Remaster}
BN.4118- Donald Byrd- 1961- Free Form {RVG Remaster}
BN.4119- Charlie Rouse- 1962- Bossa Nova Bacchanal
BN.4121- Don Wilkerson- 1962- Elder Don
BN.4122- Stanley Turrentine - 1962- Jubilee Shout!!!
BN.4123- Kenny Burrell- 1963- Midnight Blue {RVG Remaster}
BN.4124- Donald Byrd- 1963- A New Perspective {RVG Remaster}
BN.4125- Lou Donaldson- 1963- Good Gracious!
BN.4112- Dexter Gordon- 1962- GO! {RVG Remaster}
BN.4113- Freddie Roach- 1962- Down To Earth {RVG Remaster}
BN.4114- Ike Quebec- 1962- Boss Nova. Soul Samba {RVG Remaster}
BN.4115- Freddie Hubbard- 1962- Hub-Tones {RVG Remaster}
BN.4116- Jackie McLean- 1962- Jackie McLean Quintet (not released)
BN.4117- Jimmy Smith- 1960- Back at the Chicken Shack {RVG Remaster}
BN.4118- Donald Byrd- 1961- Free Form {RVG Remaster}
BN.4119- Charlie Rouse- 1962- Bossa Nova Bacchanal
BN.4121- Don Wilkerson- 1962- Elder Don
BN.4122- Stanley Turrentine - 1962- Jubilee Shout!!!
BN.4123- Kenny Burrell- 1963- Midnight Blue {RVG Remaster}
BN.4124- Donald Byrd- 1963- A New Perspective {RVG Remaster}
BN.4125- Lou Donaldson- 1963- Good Gracious!
Blue Note Works 4000-4100 series [4101-4110]
...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.4101- Donald Byrd- 1961- Royal Flush {RVG Remaster}
BN.4102- The Three Sounds- 1961- Hey There (with bonus)
BN.4103- Ike Quebec- 1962- Easy Living (not released)
BN.4104- Art Blakey & The Jazz Messengers- 1961- Buhaina's Delight {RVG Remaster}
BN.4105- Ike Quebec- 1961- It Might As Well Be Spring {RVG Remaster}
BN.4106- Jackie McLean- 1961- Let Freedom Ring {RVG Remaster}
BN.4107- Don Wilkerson- 1962- Preach Brother!
BN.4108- Lou Donaldson- 1962- The Natural Soul {RVG Remaster}
BN.4109- Herbie Hancock- 1962- Takin' Off {RVG Remaster}
BN.4110- Horace Silver- 1962- The Tokyo Blues {RVG Remaster}
BN.4102- The Three Sounds- 1961- Hey There (with bonus)
BN.4103- Ike Quebec- 1962- Easy Living (not released)
BN.4104- Art Blakey & The Jazz Messengers- 1961- Buhaina's Delight {RVG Remaster}
BN.4105- Ike Quebec- 1961- It Might As Well Be Spring {RVG Remaster}
BN.4106- Jackie McLean- 1961- Let Freedom Ring {RVG Remaster}
BN.4107- Don Wilkerson- 1962- Preach Brother!
BN.4108- Lou Donaldson- 1962- The Natural Soul {RVG Remaster}
BN.4109- Herbie Hancock- 1962- Takin' Off {RVG Remaster}
BN.4110- Horace Silver- 1962- The Tokyo Blues {RVG Remaster}
Lou Donaldson discography [1952-2005]
Lou Donaldson (born November 1, 1926) is a jazz alto saxophonist.
He is best known for his soulful, bluesy approach to playing the alto
saxophone, although in his formative years he was, as many were of the
bebop era.
Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years.
Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s up until the present.
Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent.
However, after a few years off records, Lou Donaldson's artistic return in 1981 and subsequent soul-jazz and hard bop dates for Muse, Timeless, and Milestone have found the altoist back in prime form, interacting with organists and pianists alike and showing that his style is quite timeless.
Lou Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years.
Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the '50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-'50s up until the present.
Donaldson's early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of "Alligator Boogaloo" in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent.
However, after a few years off records, Lou Donaldson's artistic return in 1981 and subsequent soul-jazz and hard bop dates for Muse, Timeless, and Milestone have found the altoist back in prime form, interacting with organists and pianists alike and showing that his style is quite timeless.
1952. Lou Donaldson - Complete 1952 Blue Note Sessions
1954. Lou Donaldson - Quartet Quintet Sextet
1957. Lou Donaldson - Lou Takes Off
1957. Lou Donaldson - Swing And Soul
1957. Lou Donaldson - Wailing With Lou
1958. Lou Donaldson - Blues Walk
1959. Lou Donaldson - The Time Is Right
1959. Lou Donaldson With The Three Sounds - LD+3
1960. Lou Donaldson - Sunny Side Up
1961. Lou Donaldson - Gravy Train
1961. Lou Donaldson - Here 'Tis
1962. Lou Donaldson - The Natural Soul
1963. Lou Donaldson - Good Gracious!
1967. Lou Donaldson - Alligator Bogaloo
1967. Lou Donaldson - Lush Life
1967. Lou Donaldson - Mr. Shing-A-Ling
1968. Lou Donaldson - Midnight Creeper
1968. Lou Donaldson - Say It Loud
1970. Lou Donaldson - Everything I Play Is Funky
1970. Lou Donaldson - The Scorpion- Live At The Cadillac Club
1973. Lou Donaldson - Sassy Soul Strut (LP)
1992. Lou Donaldson - Birdseed
1993. Lou Donaldson - Caracas
1998. Lou Donaldson - Blue Breakbeats
1999. Lou Donaldson - A Man With A Horn
2002. Complete Blue Note Lou Donaldson Sessions 1957-60 (6 CD)
2005. Lou Donaldson - The Artist Selects
Blue Note Works 4000-4100 series [4071-4085]
...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.4071- Grant Green- 1961- Green Street {RVG Remaster}
BN.4073- Freddie Hubbard- 1961- Hub Cap {RVG Remaster}
BN.4074- Horace Parlan- 1961- On The Spur Of The Moment {RVG Remaster}
BN.4075- Donald Byrd- 1961- The Cat Walk {RVG Remaster}
BN.4076- Horace Silver- 1961- Doin' The Thing- At the Village Gate {RVG Remaster}
BN.4077- Dexter Gordon- 1961- Doin' Allright {RVG Remaster}
BN.4078- Jimmy Smith- 1960- Midnight Special {RVG Remaster}
BN.4079- Lou Donaldson- 1961- Gravy Train {RVG Remaster}
BN.4080- Hank Mobley- 1961- Workout {RVG Remaster}
BN.4081- Stanley Turrentine- 1961- Dearly Beloved {RVG Remaster}
BN.4082- Horace Parlan- 1961- Up & Down {RVG Remaster}
BN.4083- Dexter Gordon- 1961- Dexter Calling... {RVG Remaster}
BN.4084- Baby Face Willette- 1961- Stop and Listen {RVG Remaster}
BN.4085- Freddie Hubbard- 1961- Ready For Freddie {RVG Remaster}
BN.4071- Grant Green- 1961- Green Street {RVG Remaster}
BN.4073- Freddie Hubbard- 1961- Hub Cap {RVG Remaster}
BN.4074- Horace Parlan- 1961- On The Spur Of The Moment {RVG Remaster}
BN.4075- Donald Byrd- 1961- The Cat Walk {RVG Remaster}
BN.4076- Horace Silver- 1961- Doin' The Thing- At the Village Gate {RVG Remaster}
BN.4077- Dexter Gordon- 1961- Doin' Allright {RVG Remaster}
BN.4078- Jimmy Smith- 1960- Midnight Special {RVG Remaster}
BN.4079- Lou Donaldson- 1961- Gravy Train {RVG Remaster}
BN.4080- Hank Mobley- 1961- Workout {RVG Remaster}
BN.4081- Stanley Turrentine- 1961- Dearly Beloved {RVG Remaster}
BN.4082- Horace Parlan- 1961- Up & Down {RVG Remaster}
BN.4083- Dexter Gordon- 1961- Dexter Calling... {RVG Remaster}
BN.4084- Baby Face Willette- 1961- Stop and Listen {RVG Remaster}
BN.4085- Freddie Hubbard- 1961- Ready For Freddie {RVG Remaster}
Blue Note Works 4000-4100 series [4061-4070]
...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.4061- Donald Byrd- 1960- At the Half Note Cafe vol.2 {RVG Remaster}
BN.4062- Horace Parlan- 1960- Headin' South {RVG Remaster}
BN.4063- Kenny Dorham- 1961- Whistle Stop {RVG Remaster}
BN.4064- Grant Green- 1961- Grant's First Stand {RVG Remaster}
BN.4065- Stanley Turrentine- 1961- Comin' Your Way
BN.4066- Lou Donaldson- 1961- Here 'Tis {RVG Remaster}
BN.4067- Jackie McLean- 1961- Bluesnik {RVG Remaster}
BN.4068- Baby Face Willette- 1961- Face To Face {RVG Remaster}
BN.4069- Stanley Turrentine- 1961- Up at Minton's Vol.1
BN.4070- Stanley Turrentine- 1961- Up at Minton's Vol.2
BN.4061- Donald Byrd- 1960- At the Half Note Cafe vol.2 {RVG Remaster}
BN.4062- Horace Parlan- 1960- Headin' South {RVG Remaster}
BN.4063- Kenny Dorham- 1961- Whistle Stop {RVG Remaster}
BN.4064- Grant Green- 1961- Grant's First Stand {RVG Remaster}
BN.4065- Stanley Turrentine- 1961- Comin' Your Way
BN.4066- Lou Donaldson- 1961- Here 'Tis {RVG Remaster}
BN.4067- Jackie McLean- 1961- Bluesnik {RVG Remaster}
BN.4068- Baby Face Willette- 1961- Face To Face {RVG Remaster}
BN.4069- Stanley Turrentine- 1961- Up at Minton's Vol.1
BN.4070- Stanley Turrentine- 1961- Up at Minton's Vol.2
Blue Note Works 4000-4100 series [4051-4060]
...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.4051- Jackie McLean- 1959- Jackie's Bag {RVG Remaster}
BN.4052- Tina Brooks- 1960- Back to the Tracks
BN.4053- Lou Donaldson- 1958- Light-Foot
BN.4054- Art Blakey & The Jazz Messengers- 1960- Meet You At The Jazz Corner Of The World vol.1
BN.4055- Art Blakey & The Jazz Messengers- 1960- Meet You At The Jazz Corner Of The World vol.2
BN.4056- Freddie Hubbard- 1960- Goin' Up
BN.4057- Stanley Turrentine With The Three Sounds- 1960- Blue Hour. The Complete Sessions
BN.4058- Hank Mobley- 1960- Roll Call {RVG Remaster}
BN.4059- Kenny Drew- 1960- Undercurrent {RVG Remaster}
BN.4060- Donald Byrd- 1960- At the Half Note Cafe vol.1 {RVG Remaster}
BN.4051- Jackie McLean- 1959- Jackie's Bag {RVG Remaster}
BN.4052- Tina Brooks- 1960- Back to the Tracks
BN.4053- Lou Donaldson- 1958- Light-Foot
BN.4054- Art Blakey & The Jazz Messengers- 1960- Meet You At The Jazz Corner Of The World vol.1
BN.4055- Art Blakey & The Jazz Messengers- 1960- Meet You At The Jazz Corner Of The World vol.2
BN.4056- Freddie Hubbard- 1960- Goin' Up
BN.4057- Stanley Turrentine With The Three Sounds- 1960- Blue Hour. The Complete Sessions
BN.4058- Hank Mobley- 1960- Roll Call {RVG Remaster}
BN.4059- Kenny Drew- 1960- Undercurrent {RVG Remaster}
BN.4060- Donald Byrd- 1960- At the Half Note Cafe vol.1 {RVG Remaster}
Blue Note Works 4000-4100 series [4031-4040]
...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.4031- Hank Mobley- 1960- Soul Station {RVG Remaster}
BN.4032- Sonny Red- 1960- Out Of The Blue
BN.4033- Dizzy Reece- 1960- Soundin' Off {RVG Remaster}
BN.4034- Lee Morgan- 1960- Lee-Way {RVG Remaster}
BN.4035- Duke Pearson- 1959- Tender Feelin's {RVG Remaster}
BN.4036- Lou Donaldson- 1960- Sunny Side Up
BN.4037- Horace Parlan- 1960- Us Three
BN.4038- Jackie McLean- 1960- Capuchin Swing {RVG Remaster}
BN.4039- Stanley Turrentine- 1960- Look Out! {RVG Remaster}
BN.4040- Freddie Hubbard- 1960- Open Sesame {RVG Remaster}
BN.4031- Hank Mobley- 1960- Soul Station {RVG Remaster}
BN.4032- Sonny Red- 1960- Out Of The Blue
BN.4033- Dizzy Reece- 1960- Soundin' Off {RVG Remaster}
BN.4034- Lee Morgan- 1960- Lee-Way {RVG Remaster}
BN.4035- Duke Pearson- 1959- Tender Feelin's {RVG Remaster}
BN.4036- Lou Donaldson- 1960- Sunny Side Up
BN.4037- Horace Parlan- 1960- Us Three
BN.4038- Jackie McLean- 1960- Capuchin Swing {RVG Remaster}
BN.4039- Stanley Turrentine- 1960- Look Out! {RVG Remaster}
BN.4040- Freddie Hubbard- 1960- Open Sesame {RVG Remaster}
Blue Note Works 4000-4100 series [4017-4030]
...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.4017- Horace Silver- 1959- Blowin' the Blues Away {RVG Remaster}
BN.4018- Walter Davis Jr.- 1959- Davis Cup {RVG Remaster}
BN.4019- Donald Byrd- 1959- Byrd In Hand {RVG Remaster}
BN.4020- The Three Sounds- 1959- Good Deal
BN.4021- Kenny Burrell with Art Blakey- 1959- On View at the Five Spot Cafe
BN.4022- Duke Pearson- 1959- Profile {RVG Remaster}
BN.4023- Dizzy Reece- 1959- Star Bright
BN.4024- Jackie McLean- 1959- Swing, Swang, Swingin' {RVG Remaster}
BN.4025- Lou Donaldson- 1959- The Time Is Right
BN.4026- Donald Byrd- 1959- Fuego {RVG Remaster}
BN.4027- Freddie Redd Quartet with Jackie McLean- 1960- The Connection {RVG Remaster}
BN.4028- Horace Parlan- 1960- Movin' & Groovin'
BN.4029- Art Blakey & The Jazz Messengers- 1960- The Big Beat {RVG Remaster}
BN.4030- Jimmy Smith- 1960- Crazy! Baby
BN.4017- Horace Silver- 1959- Blowin' the Blues Away {RVG Remaster}
BN.4018- Walter Davis Jr.- 1959- Davis Cup {RVG Remaster}
BN.4019- Donald Byrd- 1959- Byrd In Hand {RVG Remaster}
BN.4020- The Three Sounds- 1959- Good Deal
BN.4021- Kenny Burrell with Art Blakey- 1959- On View at the Five Spot Cafe
BN.4022- Duke Pearson- 1959- Profile {RVG Remaster}
BN.4023- Dizzy Reece- 1959- Star Bright
BN.4024- Jackie McLean- 1959- Swing, Swang, Swingin' {RVG Remaster}
BN.4025- Lou Donaldson- 1959- The Time Is Right
BN.4026- Donald Byrd- 1959- Fuego {RVG Remaster}
BN.4027- Freddie Redd Quartet with Jackie McLean- 1960- The Connection {RVG Remaster}
BN.4028- Horace Parlan- 1960- Movin' & Groovin'
BN.4029- Art Blakey & The Jazz Messengers- 1960- The Big Beat {RVG Remaster}
BN.4030- Jimmy Smith- 1960- Crazy! Baby
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!
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'
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.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.
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}
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.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.
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}
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}
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
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
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