Blue Note Tone Poet Series
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The Tone Poet Audiophile Vinyl Reissue Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. Was brought Joe Harley, a.k.a. the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels.
Extreme attention to detail has been paid to getting these right in every conceivable way, from the jacket graphics and printing quality to superior LP mastering (direct from the master tapes) by Kevin Gray to superb 180g audiophile LP pressings by Record Technology Inc. Every aspect of these Tone Poet releases is done to the highest possible standard. It means that you will never find a superior version. This is IT.
Recorded in 1956 for producer Tom Wilson’s short-lived Boston-based label Transition Records, Watkins At Large was the first of only two albums that the great bassist Doug Watkins would make as a leader. The Detroit native had moved to New York and begun to garner recognition...
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Kenny Dorham added stellar entries to the catalogs of Blue Note, Riverside, and New Jazz throughout the 1950s as he solidified his reputation as a leading trumpeter and composer on the jazz scene. He began 1961 in the studio for Blue Note recording his excellent...
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Recorded in 1955 for producer Tom Wilson’s short-lived Boston-based label Transition Records, Byrd’s Eye View was trumpeter Donald Byrd’s first issued recording as a leader. The date presented Byrd at the helm of what was then the current line-up of The Jazz Messengers with...
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Vibraphonist Bobby Hutcherson was a defining feature of the sound of Blue Note Records throughout the 1960s, equally at home in hard bop, soul jazz, and avant-garde settings. His 1968 album Total Eclipse was the vibraphonist’s first recording to feature tenor saxophonist and...
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The Saxophone Colossus Sonny Rollins had already recorded three Blue Note studio dates for Alfred Lion—Sonny Rollins, Sonny Rollins, Vol. 2, and Newk’s Time—by the time he walked down the stairs of the Village Vanguard on November 3, 1957 to record his...
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Taylor on bass, and Roy Brooks on drums. The core of the band had been together since 1959 and recorded hard bop classics like Finger Poppin’ and Blowin’ the Blues Away, with Brooks joining in 1960 on Horace-Scope. The program on Silver’s Serenade consists of five...
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The precocious and prodigious drummer and composer Tony Williams had already joined the Miles Davis Quintet and participated in numerous landmark Blue Note recordings including Herbie Hancock Empyrean Isles, Eric Dolphy Out To Lunch, Andrew Hill Point Of Departure, Jackie McLean...
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Alto saxophonist Jackie McLean’s 1960s output ran the gamut from hard bop to the avant-garde with his 1964 post-bop dates It’s Time! and Action splitting the difference. Trumpeter Charles Tolliver had appeared alongside McLean in the horn frontline on It’s Time! and returned once...
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Following sideman appearances with pianist Horace Parlan in the early 1960s, Booker Ervin cut two stellar Blue Note records as a leader in 1968 including Tex Book Tenor which had to wait nearly 40 years until 2005 for its first standalone release. With a sleek post-bop quintet...
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Miami-born trumpeter Blue Mitchell had a soulful, swinging style that was equally at home in jazz, R&B, and funk settings. Mitchell been a sideman on Blue Note sessions led by Lou Donaldson, Jimmy Smith, Jackie McLean and appeared on numerous classics as a member of the Horace...
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The acclaimed Cleveland-born saxophonist Joe Lovano came to Blue Note Records in 1990 and over the next 25 years became one of the most recorded artists in the label’s history, building a formidable and far-ranging catalog that explored the full breadth of...
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After his six years with the seminal John Coltrane Quartet, the master drummer Elvin Jones signed with Blue Note in 1968 and began building his own career as a bandleader. His first two albums for the label were spare trio outings—Puttin’ It Together and The Ultimate—both featuring...
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Alto saxophonist Lou Donaldson hadn’t recorded for Blue Note since 1963 when he returned to the label in 1967 and began a new chapter in his lengthy career. Sweet Papa Lou had helped lay Blue Note’s soul jazz foundation alongside Hammond B3 organists including Jimmy...
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The trio of guitarist Grant Green, organist Larry Young, and drummer Elvin Jones had a unique alchemy from the first time they got together on Green’s 1964 album Talkin’ About. A couple months later the trio reconvened as a quartet with vibraphonist Bobby Hutcherson...
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McCoy Tyner looked towards Africa on his stunning 1970 album Extensions, a far-reaching exploration of Black identity that marked the masterful pianist’s fifth recording for Blue Note Records. After leaving John Coltrane’s band Tyner had moved from Impulse to Blue Note and...
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Kenny Burrell had been recording for Blue Note less than a year when he entered Rudy Van Gelder’s Hackensack, New Jersey studio in February 1957 for his 3rd session as a leader for the label. The date presented the guitarist’s signature stylings with a crack team of hard...
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The Chicago-born pianist and composer Jack Wilson enjoyed a wide-range of musical associations including work with the likes of Dinah Washington, Sarah Vaughan, Lou Rawls, Gerald Wilson, Roy Ayers, and recording leader dates for Atlantic before he made his Blue Note debut in...
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Jackie McLean’s music weaved in and out of the avant-garde throughout the 1960s with the brilliant 1963 inside-out dates One Step Beyond and Destination… Out! eventually leading to full-throated free jazz of the 1967 dates New and Old Gospel (featuring Ornette Coleman on...
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Herbie Nichols was one of the most original pianists and composers in Jazz history. Blue Note founder Alfred Lion considered him to be as unique and important a voice as Thelonious Monk, another singular talent who Lion was the first to record a few years before...
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Between 1964-1967 the legendary saxophonist and composer Wayne Shorter created a treasured and deeply influential body of work within the acoustic jazz tradition with classic...
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Blue Note’s roster of Hammond B3 organists was a vibrant and varied bunch that ran the stylistic gamut from Jimmy Smith’s virtuosic innovations to Larry Young’s horizon-expanding...
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Just two months after recording his exceptional sextet date Cornbread, the prolific trumpeter Lee Morgan was back in Van Gelder Studio in November 1965 with a slightly slimmed down—but no less robust—quintet line-up to record his next session Infinity, which wouldn’t be first...
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Perhaps the perfect starting point for a reappraisal of Duke Pearson’s underrated career is his fantastic and aptly titled 1967 album The Right Touch. The album stands as perhaps the finest in Pearson’s discography and is a showcase of his sublime talents as a pianist, composer, and...
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The supremely swinging pianist Sonny Clark hit the Blue Note scene in 1957 with a burst of creativity recording three albums in three months including the sublime Sonny Clark Trio, a 6-song set of bebop themes and standards featuring bassist Paul Chambers and drummer Philly...
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Tenor saxophonist Hank Mobley had been recording for Blue Note for a decade when he made his excellent 1965 album A Caddy for Daddy featuring a first-class sextet with Lee Morgan on trumpet, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy...
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More than a dozen albums into his Blue Note tenure, Donald Byrd’s 1967 date Slow Drag would be one of the last pure hard bop sessions that the reliably brilliant trumpeter would cut before his music began evolving towards fusion. Byrd flies high on this highly gratifying set...
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The great pianist McCoy Tyner made his Blue Note debut with The Real McCoy in 1967 soon after departing John Coltrane’s quartet and returned to the studio months after Coltrane’s death to record Tender Moments with an expanded ensemble featuring a 6-piece horn section. For...
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The brilliant arranger, composer, and pianist Gil Evans had already collaborated with Miles Davis on Birth of the Cool and Miles Ahead and made his own debut album Gil Evans & Ten for Prestige when he signed with World Pacific Records in 1958 and made the first...
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The prodigious trumpeter Freddie Hubbard debuted on Blue Note in 1960 and produced an astounding run of recordings over the first half of the decade that culminated with Blue Spirits, which was the last of his 1960s studio albums for the label. This bluesy and spirited album...
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Following the success of Chet Baker’s much-loved vocal debut Chet Baker Sings on Pacific Jazz in 1954, producer Richard Bock brought the rising star trumpeter back into Capitol Studios the next year for the sequel Chet Baker Sings and Plays which showcased both sides...
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Stanley Turrentine is at his blues-drenched best on Comin’ Your Way. This session from 1961 features the magnificent rhythm section of Horace Parlan on piano, George Trucker on bass and Al Harewood on drums, better known as the Horace Parlan Trio. Also featured is...
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Though it wouldn’t first be released until 1980 as part of the LT Series, Stanley Turrentine’s Mr. Natural is a standout recording in the soulful tenor saxophonist’s immense 1960s Blue Note catalog. Turrentine had already led 12 dates for the label from his hard bop...
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The Kansas City born trumpeter Carmell Jones was quickly signed by Pacific Jazz soon after his arrival in Los Angeles in 1960, and in addition to appearing on sessions led by labelmates Gerald Wilson, Bud Shank, and Curtis Amy, Jones began what seemed sure to...
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The brilliant pianist and composer Andrew Hill debuted on Blue Note in 1963 with a flurry of creativity and maintained a prolific recording output through the end of the decade that left several stunning sessions unreleased in the vaults. Recorded in 1968, but not released until...
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Trumpeter Donald Byrd was just 2 years into his 2 decade long Blue Note recording career when he brought his quintet in to Manhattan’s Half Note Café in November 1960 to record this soulful, swinging, and highly enjoyable live set of hard bop featuring Pepper...
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ScoLoHoFo—the supergroup made up of guitarist John Scofield, saxophonist Joe Lovano, bassist Dave Holland, and drummer Al Foster—first played together as a band in 1999, but the musicians’ associations stretched back decades. Scofield, Holland, and Foster were all alumni of Miles Davis’ groups...
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Hank Mobley was famously called the “middleweight champion of the tenor saxophone” with a round sound and an incredible rhythmic lightness on his feet that won the admiration of legions of tenor saxophone players. This remarkable session from 1957 somehow was left on the shelf...
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Trumpeter Blue Mitchell had been a sideman on Blue Note sessions led by Lou Donaldson, Jimmy Smith, Jackie McLean, and appeared on numerous classics as a member of the Horace Silver Quintet before he began recording his own leader albums for the label. Following The...
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On September 15, 1957, John Coltrane went into Rudy Van Gelder’s living room studio in Hackensack, New Jersey and recorded his first great masterpiece: Blue Train. It would be the legendary saxophonist’s sole album as a leader for Blue Note, a locomotive...
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On September 15, 1957, John Coltrane went into Rudy Van Gelder’s living room studio in Hackensack, New Jersey and recorded his first great masterpiece: Blue Train. It would be the legendary saxophonist’s sole album as a leader for Blue Note, a locomotive 5-track album...
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Vibraphonist Bobby Hutcherson’s 1966 album Stick-Up! found him in the company of a new band line-up with Joe Henderson, McCoy Tyner, Herbie Lewis, and Billy Higgins. The quintet covers a vast expanse of post-bop territory on 5 Hutcherson originals plus Ornette Coleman’s “Una...
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Tenor saxophonist Harold Vick was born in Rocky Mount, North Carolina and played with R&B bands coming up before working as a sideman with soul jazz organ greats including Jack McDuff and Big John Patton. Vick made his first Blue Note appearance in April 1963 on Patton’s Along...
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The first thing that strikes you about Kenny Burrell’s second Blue Note album, simply titled Kenny Burrell (BLP 1543) and released as part of Blue Note’s fabled 1500 series, is the cover, which features an illustration by Andy Warhol, the first of three Blue Note covers...
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In the early 1960s, the great composer, arranger, and bandleader Gerald Wilson began recording a series of spectacular albums for Pacific Jazz that stand as the most significant...
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One of the more remarkable albums in Freddie Hubbard's formidable Blue Note oeuvre, Breaking Point! was recorded in May 1964 shortly after the trumpeter left Art Blakey's Jazz Messengers to form his own band. The...
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It’s a sign of the sheer volume of top-notch hard bop that Blue Note was recording in the 1950s-60s that a supremely swinging date like Hank Mobley’s 1957 album Curtain Call would sit in the vaults unreleased until 1984. Mobley himself was in the middle of a particularly prolific...
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Jackie McLean’s 1960s Blue Note output is a fascinating body of work, especially viewed with the benefit of hindsight. In between recording 2 venturous modernist sessions—Let Freedom Ring and One Step Beyond—that would set the tone for the alto saxophonist’s future...
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The Detroit born alto saxophonist Sonny Red made only one album as a leader for Blue Note, but Out of the Blue remains a gem of the catalog deserving of much wider recognition. Red’s lightly swinging style shines on this 8-song set of bluesy originals and obscure standards, which...
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This sleek and beautifully paced Lee Morgan album was recorded in 1966 but shelved until 1984 for unknown reasons. In addition to the trumpeter, the quintet here features a superb line-up with Hank Mobley on tenor saxophone, Cedar Walton on piano, Paul Chambers on bass, and Billy...
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Grant Green had already recorded a prolific 10 sessions of classic hard bop and soul jazz for Blue Note over a 2-year span by the time he arrived at Van Gelder Studio in 1962 to record his album The Latin Bit. The concept of the album was a departure for Green with the guitarist...
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Joe Pass’ For Django, recorded for Pacific Jazz in 1964, has long been considered a classic of the jazz guitar repertoire with Pass paying tribute to Django Reinhardt without in any way attempting to emulate him. Rather, Pass honors Django using his own masterful guitar style joined...
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Stanley Turrentine’s 1966 soul jazz classic Rough ‘N Tumble finds a deep and bluesy groove that doesn’t let up from start to finish. Joining Turrentine are the crème de la crème: Blue Mitchell on trumpet, Pepper Adams on baritone saxophone, James Spaulding on...
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Iconoclastic saxophonist and composer Ornette Coleman shook the jazz world when he arrived at the Five Spot Café in New York City in 1959 and began his run of seminal albums...
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The soulful and elegant pianist Sonny Clark brings his A-game to My Conception, a program of all-Clark originals recorded in 1959 but not released until 1979. Joining the pianist are a cast of hard bop masters including Hank Mobley on tenor saxophone, Donald Byrd on trumpet, Paul...
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Three giants of West Coast Jazz came together in this deeply swinging session recorded for the Pacific Jazz/World Pacific label in 1953. Alto saxophone master Lee Konitz joins with the great Gerry Mulligan on baritone saxophone and legendary trumpeter...
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On October 15, 1965, tenor saxophone master and composer Wayne Shorter recorded The All Seeing Eye, a brilliant and ambitiously multi-layered album for Blue Note. Shorter’s goal for the album was to use “a wider range of colours and textures” while continuing his...
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Recorded in 1963, The Kicker was actually vibraphonist Bobby Hutcherson’s first session as a leader for Blue Note, but for reasons lost to time it was shelved, and instead Hutcherson’s album Dialogue was released as his debut two years later. First released in 1999, The...
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Grant Green’s Nigeria is an under-recognized gem in the guitarist’s remarkable Blue Note catalog. Recorded in 1962, but not first released until 1980, the album features a top-shelf band with Sonny Clark on piano, Sam Jones on bass, and, in one of his only appearances with Green, Art...
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