One of the only two Vocal Jazz albums on Blue Note recorded during Alfred Lion's reign.
A historic recording.
Originally released in 1962 by Blue Note Records.
Reissue conducted by Heavenly Sweetness.
Limited 180 gram audiophile edition.
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HORACE PARLAN
happy frame of mind
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HAPPY FRAME OF MIND
BLUE NOTE LP RE-ISSUE SERIES 6
Quality sound taken from the original master tapes, 180g vinyl, heavy cardboard sleeve and original artwork.
Wicked work by pianist Horace Parlan -- and one of his most stunning Blue Note sessions ever!
The album was first recorded in 1963, but then kept on the shelf for years -- seeing only brief release as part of a Booker Ervin package in the late 70s, and finally coming out with the proper cover and lineup at some point in the 80s!
Why Blue Note waited so long is a mystery, because the album's a gem throughout -- almost more important, and more starkly modern than any of Parlan's other work for the label.
Booker Ervin leads the frontline on tenor, alongside Johnny Coles on trumpet, Grant Green on guitar, and the rhythm section of Butch Warren and Billy Higgins. Parlan's choice of material is fantastic -- with a number of Africanist tracks that feature unique rhythmic patterns that really push the soloists! Titles include "A Tune For Richard", "Dexi", "Home Is Africa", "Kucheza Blues", and "Back From The Gig".
(courtesy of www.dustygroove.com)
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HERBIE HANCOCK
takin'off
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Takin'off
Herbie Hancock's essential First album.
Includes the all time Jazz classic "Watermelon Man"
Originally released in 1962 by Blue Note Records.
Reissue conducted by Heavenly Sweetness.
Limited 180 gram audiophile edition.
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24.00€
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ELVIN JONES
coalition
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Coalition
Blue Note Reissue series
Notre album préféré de Elvin Jones sur Blue note. Une superbe session 70’s du batteur de Coltrane, avec deux saxophones, Georges Coleman et Franck Foster, accompagnés de Wilber Little à la basse et le maître congero Candido. Des poids lourds du jazz pour une formidable session, incluant notamment “5/4 thing” qui comme le décrit Leonard feather dans les notes de pochette est : “A rhythmic circle of sound”. 70’s jazz at his best!
A wonderful Elvin Jones session for Blue Note from 1970.On this one he deploys a double sax frontline of George Coleman and Frank Foster supported by Wilber Little on bass, Elvin on drums and the great Candido Camero on conga. Check out 5/4 Thing – as Leonard Feather puts it on the sleeve notes “A rhythmic circle of sound” and the Franck Foster classic “Simone”. Our favorite Elvin Jones album on Blue note, deep and spiritual.
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ART TAYLOR
a.t.'s delight
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A.T.'s delight
Although Art Taylor was one of the busiest modern second-generation jazz drummers, working in the studio with Coleman Hawkins, Donald Byrd, John Coltrane and many others, he only released five albums under his own name, of which A.T.'s Delight was the third. And a delight it is indeed, bright and percussive, and when conga player Carlos "Patato" Valdes joins Taylor and pianist Wynton Kelly and bassist Paul Chambers on three cuts (Thelonious Monk's "Epistrophy," "Move" and a Taylor calypso-inflected original called "Cookoo and Fungi"), the rhythm pocket opens into a deep blue sea for the horn men (Stanley Turrentine on tenor sax and Dave Burns on trumpet). "Move" does exactly that, it moves, and at a blistering pace. Monk's "Epistrophy," thanks in part to Valdes, reveals its rumba roots, and has never sounded brighter. The seldom-covered Coltrane composition "Syeeda's Song Flute" seems likewise refreshed and revived. The lone Taylor original, the driving "Cookoo and Fungi," is as sharp and alert is a kitten waking from a nap in the spring sun, and Taylor's drum solo is crisp, efficient and slides seamlessly into the calypso-informed main theme. A.T.'s Delight is a solid outing, with a wonderfully nervous but completely focused energy. (courtesy of Steve Leggett, All Music Guide)
Tracklist
Syeedas Song Flute
Epistrophy
Move
High Seas
Cookoo And Fungi
Blue Interlude
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KENNY DORHAM
matador
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Matador
Kenny Dorham's Matador can safely claim the all too common distinction of being a classic among jazz connoisseurs while virtually unknown to the casual listener. Dorham is joined here by Jackie McLean, Bobby Timmons, Teddy Smith, and J.C. Moses, all of whom deliver outstanding performances. More than anything, this session is perhaps best known for including a stunning version of McLean's composition "Melody for Melonae," used less than a month earlier on his groundbreaking Blue Note LP Let Freedom Ring. For this session, though, the tune is renamed "Melanie" and, if not better, this version at least rivals the take under McLean's leadership. For starters, the addition of another horn adds some tonal depth to the proceedings, a situation arguably lacking in the tune's earlier recording. Also of note is what has to be Bobby Timmons' most intense moment on record. One rarely has the opportunity to hear Timmons dig and scrape as hard as he does during this solo, and his barely audible vocal accompaniment (à la Bud Powell) only helps to prove this point. This is a case where a performer not commonly associated with seriously stretching out goes at it with a life-affirming fervor, making "Melanie" a treat for listeners who revel in emotional performances. Other highlights include the opener, "El Matador," a 5/4 number that, frankly, fades out just when things were getting good, and the otherwise unaccompanied Dorham/Timmons duet, "Prelude." A fantastic session by any standard.
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JOE HENDERSON
in'n'out
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In'n'out
Blue Note Reissue series
Un excellent album de Joe Henderson, à l’époque où il était habité d’un feu interieur que beaucoup lui enviaient. Il est entouré d’un groupe de premiers couteaux de grande classe : Kenny Dorham, Mc Coy Tyner, Richard Davis ou Elvin Jones qui vont tous exploser dans les années qui suivent. Le jeux d’Henderson est rude et fougueux, ce qui colle parfaitement à ses compositions mais aussi à celles de Dorham. Et le titre de l’album est plus qu’un avertissement, cet album ne fera que sortir et revenir sur votre platine!
Killer work from Joe Henderson – back when he was blowing with a fire that kind of died out in later years, working with a fierce young group that featured Kenny Dorham, McCoy Tyner, Richard Davis, and Elvin Jones. Henderson’s tone is rough and young – but in a great way, one that’s perfect for the exploratory nature of his original tunes on the set, and which matches the mood of Dorham’s compositions as well. Tracks include “In N Out”, “Short Story”, “Brown’s Town”, and “Punjab”. And if the title’s not enough of a hint – let us just tell you that the record goes in and out!
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DUKE ELLINGTON
money jungle
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Money Jungle
Rarely are such "meeting of the minds" sessions worth any fuss at all – but in this case, the masterful talents of the players turn what should be a snoozy "common denominator" session into a modernist classic that still crackles with excitement after all these years! The real success factor here is Ellington, who was hitting a point in his career when he was really beginning to experiment again – as you'll hear in the beautifully angular piano lines that he lays next to Mingus' bass and Roach's lively drums. The set's nearly all originals, and titles include "Money Jungle", "Le Fleurs Africaines", and "Wig Wise". Very nice!
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BOBBY HUTCHERSON
now !
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Now !
« Now! » is one of Bobby Hutcherson's most adventurous recordings. Cut with the Harold Land Quintet in 1969, Hutcherson augments the lineup with vocalist the Right Reverend Eugene McDaniels (then Gene McDaniels) and a chorus at the height of Black Power consciousness. While this band may not appeal to straight hard and post-bop listeners who prefer their music instrumentally, it is a compelling and even stunning record if accepted on its own terms. The compositions reflect the tightrope Hutcherson and Land walked on their earlier outings together between post-bop and vanguard jazz The interplay between Hutcherson and Stanley Cowell's 's piano in the instrumental passages in "Slow Change" is so intuitive and symbiotic it may slip by the listener who is not paying attention. Land's solo too, comes out for the post-Coltrane ethos and fills the vocal lines powerfully and convincingly. Elsewhere, on "Hello to the Wind," written by drummer Joe Chambers and McDaniels, the influence of Terry Callier is evident in the tune's dynamic and melody line that is led by Wally Richardson's guitar. With fine piano work by Kenny Barron and a fluid, modal bassline by Herbie Lewis. McDaniels' voice is in fine form here, his husky baritone effortlessly coloring the mix. The title cut is a short lullaby written by Hutcherson and McDaniels, tender, simple and haunting as Land's saxophone winds through the shouts of female voices with restraint and elegance. The utter creative vision of Herbie Lewis' "The Creators" showcases the band at the height of its powers with Cowell holding the piano chair with killer Latin rhythms, psychedelic electric guitar and a provocative engagement between Land, Hutcherson and the chorus. The original set ends with "Black Heroes" by Land. A scatted, syncopated piece of counterculture beat jazz, it offers a better portrait of the band than it does of McDaniels or the choral group. A hard bop piece with a striated and knotty vocal intro and finish, it is a fitting and exciting final track. (courtesy of Thom Jurek, All Music Guide)
Tracklist
Slow Change 7:10
Hello To The Wind 5:55
Now 2:42
The Creators 12:32
Black Heroes 7:00
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ANDREW HILL
lift every voice
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Lift every voice
A rare and beautiful Andrew Hill session, and one of the classic Blue Note entries into the "jazz and voices" sound that the label pioneered with Donald Byrd and Eddie Gale. Hill leads a core jazz group that includes Woody Shaw, Carlos Garnett, Richard Davis, and Freddie Waits -- and the group is backed by a vocal ensemble with a very spiritual vibe. The sound is a lot more hip than the Donald Byrd & Voices albums, and the playing of the core jazz group is very very soulful -- along the lines of Hill's Grass Roots album, which was also from the same period. The record's similar to the Max Roach/Billy Harper vocal work around the same time, and titles include "Ghetto Lights", "Hey Hey", "Two Lullabies", and "Love Chant". A very unique album for Andrew Hill! (courtesy of www.dustygroove.com)
