Horace Parlan Movin´ & Groovin´

Blue Note Analogue Productions CBNJ 84028 SA Hybrid-SACD

Blue Note jazz classic in audiophile sound quality

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This 1960 trio date was pianist Parlan's first of many great releases for Blue Note. The Pittsburgh native, who overcame polio as a child that left his right hand crippled, had gained some serious props with his contributions on two of Charles Mingus' best albums the year prior (Mingus Ah Um, Blues And Roots), and was now ready to step out on his own. Choosing to tackle mostly standards, Parlan channels his idol Bud Powell's classic trio dates with the able assistance of Blue Note regulars Sam Jones, bass and drummer Al Harewood. The result is an eclectic mix, interpreting the works of Tadd Dameron, Duke Ellington, Milt Jackson and Burke-Van Heussen plus a Parlan original, "Up In Cynthia's Room," which became one of his signature pieces.

Horace Parlan, piano - Al Harewood, drums - Sam Jones, bass

Ike Quebec Blue & Sentimental

Blue Note Analogue Productions CBNJ 84098 SA Hybrid-SACD

Blue Note jazz classic in audiophile sound quality

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Ike Quebec's timeless, big-toned tenor was a frequent visitor to Rudy Van Gelder's studio in the early sixties. But this album from December 1961 with spare, soulful backing from Grant Green, Paul Chambers and Philly Joe Jones is his masterpiece. The leaner setting works perfectly, evoking an aura of relaxation and monumentality, with the deepest blue of accents.

Originally released in 1962.

Ike Quebec, tenor sax & piano - Grant Green, guitar - Paul Chambers, bass - Philly Joe Jones, drums

Ike Quebec It might as well be Spring

Blue Note Analogue Productions CBNJ 84105 SA Hybrid-SACD

Jazz classic in audiophile sound quality

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Two weeks after Ike Quebec recorded his comeback album Heavy Soul for Blue Note, he was back at the Van Gelder Studio with the same band, making a second album. The confidence paid off because It Might As Well Be Spring is every bit the classic the first album proved to be. Quebec's big-toned, vulnerable tenor playing is a thing to behold, as his heart-stopping version of the title tune, "Lover Man" and "Willow Weep For Me" attest. "Easy – Don't Hurt" is one of his blues masterpieces.

Recorded in 1961.

Ike Quebec, saxophone (tenor) - Al Harewood, drums - Milt Hinton, bass - Freddie Roach, organ

Jackie McLean Capuchin Swing

Blue Note Analogue Productions CBNJ 84038 SA Hybrid-SACD

Blue Note jazz classic in audiophile sound quality

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Considered one of his strongest Blue Note outings, Capuchin Swing basically forced Jackie McLean to bring in some heavyweights to help define and deliver his vision. First and foremost was Blue Mitchell’s forceful trumpet, chosen to counterpoint the leader’s alto, that was in a feisty mood of it’s own throughout the sessions. Having Walter Bishop, Jr. on piano, Paul Chambers’ bass and Art Taylor banging skins frees the leader’s mind of worry rhythm-wise, allowing him and Mitchell to co-explore new heights of interplay. The intensity on McLean originals such as “Francisco”, “Condition Blue” and the title tune are both riveting and sometimes draining, while Bishop contributes both “Just For Now” plus another dedication to the label founder, “On The Lion”.

Jackie McLean Jackie´s Bag

Blue Note Analogue Productions CBNJ 84051 SA Hybrid-SACD

Blue Note jazz classic in audiophile sound quality

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A masterpiece culled from two different sessions, separated by 20 months.

Tina Brooks, sax (tenor) - Donald Byrd, trumpet - Paul Chambers, bass - Sonny Clark, piano - Kenny Drew, piano - Philly Joe Jones, drums - Jackie McLean, sax (alto) - Billy Mitchell, sax (tenor) - Blue Mitchell, trumpet Art Taylor, drums

Jackie McLean New Soil

Blue Note Analogue Productions CBNJ 84013 SA Hybrid-SACD

Blue Note jazz classic in audiophile sound quality

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New Soil wasn't the first session Jackie McLean recorded for Blue Note, but it was the first one released, and as the title suggests, the first glimpses of McLean's desire to push beyond the limits of bop are already apparent. They're subtle, of course, and nowhere near as pronounced, as they would be in just a few years' time, but – as with the 1959 material later issued on Jackie's Bag – hints of Ornette Coleman's stream-of-consciousness melodic freedom are beginning to find their way into McLean's improvisations. His playing is just a touch more angular than the ear expects, especially given the very bluesy nature of pieces like McLean's 11-minute vamp, "Hip Strut," and pianist Walter Davis Jr.'s infectious boogie-woogie "Greasy." Coleman's influence is most apparent on McLean's "Minor Apprehension," where the freewheeling, Coleman-esque main theme is paralleled by trumpeter Donald Byrd in a definite nod to Don Cherry.

Jackie McLean, alto sax - Donald Byrd, trumpet - Paul Chambers, bass - Walter Davis Jr., piano - Pete LaRoca, drums

Ike Quebec Bossa Nova Soul Samba

Blue Note Analogue Productions CBNJ 84114 SA Hybrid-SACD

Blue Note jazz classic in audiophile sound quality

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An intimate session which has soul and captures the smooth and loungy rhythms of Brazil. Just beautiful. just luscious.

Dizzy Reece Soundin´ Off

Blue Note Analogue Productions CBNJ 84033 SA Hybrid-SACD

Blue Note jazz classic in audiophile sound quality

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Maybe not exactly the first Dizzy that comes to mind when discussing jazz, this Jamaican-born, British-raised trumpeter overcame whatever burdens that nickname may have wrought to become a highly respected player in the New York scene. He enhanced that rep by recording some truly excellent albums for the Savoy, Blue Note and Prestige labels among others. His robust and passionate playing styles always seemed to inspire other musicians in his company. The contributions of the esteemed trio invited, pianist Walter Bishop, Jr., bassist Doug Watkins and drummer Art Taylor unilaterally match the front man's fire and bold approach to each tune.

Dizzy Reece, trumpet - Walter Bishop, Jr., piano - Art Taylor, drums - Doug Watkins, bass

Sonny Rollins Vol.2

Blue Note Analogue Productions CBNJ 1558 SA Hybrid-SACD

Blue Note jazz classic in audiophile sound quality

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Sonny Rollins, Vol. 2 brought together some of the greatest players of the post-bop era. In addition to Rollins, it featured Art Blakey on drums, Horace Silver and Thelonious Monk on piano, Paul Chambers on bass, and J.J. Johnson on trombone. This classic record is a must-have for any jazz lover. J.J. Johnson shared the front line with his tenor master for this exceptional session that features a unique reworking of "Poor Butterfly" and a great original "Why Don't I." Horace Silver is the pianist, but Thelonious Monk replaces him on "Reflections" and both pianists alternate throughout a stunning version of "Misterioso."

Recorded in 1957

Art Blakey, drums - Paul Chambers, bass - J.J. Johnson, trombone - Thelonious Monk, piano - Sonny Rollins, sax (tenor) - Horace Silver, piano

Horace Silver Blowin´ the Blues away

Blue Note Analogue Productions CBNJ 84017 SA Hybrid-SACD

Blue Note jazz in audiophile sound quality

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Blowin' the Blues Away is an album by jazz pianist Horace Silver, released on the Blue Note label in 1959 featuring performances by Silver with Blue Mitchell, Junior Cook, Gene Taylor, and Louis Hayes. "Blowin' the Blues Away is one of Horace Silver's all-time Blue Note classics. This album marks the peak of Silver's classic quintet with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Louis Hayes. The title tune, the beautiful ballad "Peace" and the soulful "Sister Sadie" are now standards in the jazz canon.