Dexter Gordon - "Go!" / Capitol Music Group; Blue Note; Jazz; By the time he recorded Go! In 1962, Dexter Gordon had already lived several lifetimes in jazz. He was among the first to adapt the language of bebop to the tenor saxophone in the 1940s, but after a decade in which personal troubles limited his output, he signed with Blue Note in 1961 and began a run of essential albums that marked a rebirth for the tenor giant. Featuring a quartet with Sonny Clark on piano, Butch Warren on bass, and Billy Higgins on drums, Go! #was a showcase of Gordon's limitless creativity on hard-swinging numbers like his great tune "Cheese-Cake," and a sure-footed version of "Love for Sale," as well as his peerless artistry on ballads as evidenced on stunning takes of the standards, "I Guess I'll Hang My Tears Out to Dry" and "Where Are You." Available on 180gram blue vinyl. Limited Edition. Indie Exclusive.

The Horace Silver Quintet -"Song For My Father (Cantiga Para Meu Pai)" Capitol Music Group; Blue Note; Jazz; A decade into his recording career, pianist Horace Silver made the album that would endure as the crown jewel of a catalog that boasts numerous hard-bop classics. Song For My Father captured the transition of his quintet with two tracks taken from an October 1963 session with Blue Mitchell, Junior Cook, Gene Taylor, and Roy Brooks. A year later, Silver entered Val Gelder Studio again with a new band, featuring Carmell Jones, Joe Henderson, Teddy Smith and Roger Humphries for a session that yielded four more cuts, including what would become his signature tune, "Song for My Father," a dedication to his father that was inspired by both his Cape Verdean heritage and the music Silver had heard on a recent trip to Brazil. Available on 180g blue vinyl. Limited Edition. Indie Exclusive

Grant Green - "Idle Moments" [Blue LP] Time and troubles seem to melt away during the fifteen enrapturing minutes of "Idle Moments," the opening track of Grant Green's sublime 1963 album of the same name. As the piece unhurriedly unfurls, all the unique colors of the ensemble present themselves with Green's soulful guitar joined by Duke Pearson's elegant piano, Bobby Hutcherson's crystalline vibraphone, Bob Cranshaw's reassuring upright bass, Al Harewood's subtle drums and Joe Henderson's magnificent tenor saxophone. The pace quickens for the rest of this tremendous set, including the nimble Green original "Jean de Fleur," a bluesy take on John Lewis' MJQ standard "Django," and a driving performance of Pearson's original, "Nomad." Indie Exclusive Blue 180gram LP. Limited Edition.

Herbie Hancock -"Maiden Voyage" [Blue LP] Even by the high-water marks set by Herbie Hancock's tremendous 1960s output for Blue Note, 1965's Maiden Voyage remains one of the pinnacle artistic achievements of the great pianist's career. Hancock is joined by his Miles David Quintet bandmates, Ron Carter (bass), Tony Williams (drums), Freddie Hubbard (trumpet) and George Coleman (tenor saxophone). The quintet embarks on an oceanic exploration of five original Hancock compositions, several of which have since become enduring standards of the jazz lexicon, including "Eye of the Hurricane," "Dolphin Dance" and the title track. Indie Exclusive 180gram Blue LP. Limited Edition.

Lonnie Smith -"Drives (Blue Note Classic Vinyl Series)" Lonnie Smith's 1970 album, Drives, was a showcase of the organist's sense of adventure and indomitable groove. With Dave Hubbard on tenor sax, Ronnie Cuber on bari sax, Larry McGee on guitar and Joe Dukes on drums, Smith delivers funky takes on hits "Twenty-Five Miles" and "Spinning Wheel," plus a fleet version of Miles Davis' "Seven Steps to Heaven." This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal. [180g Heavy Vinyl LP]

Hank Mobley was inspired by Birth of the Cool on his 1966 album, A Slice of the Top, featuring Duke Pearson's arrangements for an octet that added euphonium and tuba to a group with James Spaulding (alto sax), Lee Morgan (trumpet), McCoy Tyner (piano), Bob Cranshaw (bass) and Billy Higgins (drums). This Blue Note Tone Poet Series stereo edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Limited 180gm vinyl LP pressing. After appearing on Blue Note albums by Ike Quebec, Hammond B3 organist Freddie Roach made his own run of soul jazz classics for the label including the standout 1963 date Good Move. Featuring Blue Mitchell on trumpet, Hank Mobley on tenor saxophone, Eddie Wright on guitar, and Clarence Johnston on drums. This Blue Note Tone Poet Series stereo edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Duke Pearson's great 1964 album Wahoo! Was a perfect encapsulation of his talents as a pianist, composer and bandleader. Writing for a sextet featuring Donald Byrd (trumpet), James Spaulding (alto sax), Joe Henderson (tenor sax), Bob Cranshaw (bass) and Mickey Roker (drums), Pearson presents evocative originals including "Amanda," "Bedouin" and "ESP." This Blue Note Classic Vinyl Series stereo edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Limited 180gm vinyl LP pressing. Suave saxophone master Dexter Gordon had been living in Europe for several years when he returned to make his final Blue Note album, Gettin' Around, in 1965. This sublime set features a unique instrumentation with Dexter's tenor, the lone horn holding the spotlight, with nuanced accompaniment by Bobby Hutcherson, Barry Harris, Bob Cranshaw and Billy Higgins. This Blue Note Classic Vinyl Series stereo edition is all-analog, mastered by Kevin Gray from the original master tapes.

Vinyl LP pressing housed in gatefold tip-on jacket. Under-recognized tenor Clifford Jordan blew in from Chicago with a trio of excellent Blue Note sessions in 1957, including this self-titled release featuring a septet with Lee Morgan (trumpet), Curtis Fuller (trombone), John Jenkins (alto sax), Ray Bryant (piano), Paul Chambers (bass) and Art Taylor (drums). This Blue Note Tone Poet Series mono edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI.

Limited 180gm vinyl LP pressing. 1965's Dialogue was the debut by vibraphonist Bobby Hutcherson, who had already proven himself a versatile sideman on albums from Idle Moments to Out To Lunch. Dialogue showcased his more adventurous leanings with a sextet featuring Freddie Hubbard, Sam Rivers, Andrew Hill, Richard Davis and Joe Chambers. This Blue Note Tone Poet Series stereo edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Limited 180gm vinyl LP pressing. One of the great line-ups of Art Blakey & The Jazz Messengers coalesced when saxophonist Wayne Shorter joined trumpeter Lee Morgan, pianist Bobby Timmons and bassist Jymie Merritt, as heard on the 1960 album, A Night In Tunisia. Opening with a fiery version of Dizzy Gillespie's famous piece, the rest of the set showcased new bandmember originals. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes.

Limited 180gm vinyl LP pressing. Donald Byrd was off to the races after joining Blue Note in 1958 and had fully hit his hard bop stride by 1961 with his excellent album, Royal Flush. Joining the trumpeter was a state-of-the-art rhythm section, featuring Herbie Hancock on piano, Butch Warren on bass and Billy Higgins on drums, plus Byrd's frequent collaborator Pepper Adams on bari sax. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes.

Vinyl LP pressing. Tenor saxophonist Hank Mobley was at the peak of his powers throughout the early 1960s as he produced a staggering run of hard bop classics including Soul Station, Roll Call, Workout, No Room For Squares, and The Turnaround. Recorded in 1961, Workout was an energetic quintet outing featuring Mobley with guitarist Grant Green, pianist Wynton Kelly, bassist Paul Chambers, and drummer Philly Joe Jones. The spirited five-song set consisted of four dynamic Mobley originals-"Workout," "Uh Huh," "Smokin'," and "Greasin' Easy"-that proved to be ideal vehicles inspiring vigorous improvisations from each of the soloists. The lone standard "The Best Things In Life Are Free"-taken from the musical Good News-was a showcase for Mobley's more lyrical side.

Memphis-born trumpeter Booker Little was a bright light of the jazz world who died tragically young at age 23. A prodigiously talented hornman as well as a composer, Little first came to prominence as a member of Max Roach’s band which he joined in 1956 after the death of Clifford Brown, another trumpet great gone far too soon. Little only made a handful of albums as a leader during his brief career including his astounding debut Booker Little 4 & Max Roach recorded in 1958 for United Artists when he was just 20 years old. The full breadth of Little’s artistry leaps out of the grooves with his brilliant tone, astonishing technique, and inventive lines matched by Roach’s fiery drums throughout this engaging set that also featured George Coleman on tenor saxophone, Tommy Flanagan on piano, and Art Davis on bass. The album opens with Miles Davis’ “Milestones” and includes the standards “Sweet and Lovely” and a stunning version of “Moonlight Becomes You,” but the album’s centerpiece is the trio of Little originals: “Rounder’s Mood,” “Dungeon Waltz,” and “Jewel’s Tempo.”

Drawn from two sessions recorded in December 1969 and December 1970, and not first released until 1995, Kofi found Donald Byrd in the early stages of his transformation from top-notch hard bop trumpeter to fusion pioneer. Byrd had already begun to move away from a pure hard bop sound with his album Fancy Free in the Spring of 1969, and the two Kofi sessions straddled the recording of his adventurous fusion album Electric Byrd. The first Kofi session subtly explored a new realm of sounds on Byrd’s originals “Kofi” and “Fufu” with producer Duke Pearson’s electric piano shimmering underneath textured arrangements featuring Lew Tabackin on flute and tenor saxophone, Frank Foster on tenor saxophone, William Campbell on trombone, Ron Carter on acoustic bass, Bob Cranshaw on electric bass, and Airto Moreira on drums. The following 1970 session produced two more vibey Byrd originals—“Perpetual Love” and “Elmina”—adding Wally Richardson on guitar and Mickey Roker on drums with Moreira playing percussion along with Dom Um Romăo.

Limited 180gm vinyl LP pressing. The Three Sounds were one of the most prolific Blue Note acts. Led by pianist Gene Harris, the trio's sound had evolved by 1970, with a new line-up featuring bassist Henry Franklin and drummer Carl Burnett. The blues and gospel roots were still there but the rhythm had a funkier edge as heard on the rousing Live At The 'It Club' recording. This Blue Note Classic Series (stereo edition) is all-analog, mastered by Kevin Gray from the original master tapes.

Limited 180gm vinyl LP pressing. German jazz pianist Jutta Hipp is one of the most intriguing yet little-known figures in Blue Note history. Shortly after moving to NYC in 1956, she recorded the charming live trio album, At The Hickory House, with bassist Peter Ind and drummer Ed Thigpen. Volume 1 presents a set of standards and bebop themes that showcases her hip, lightly-swinging style. This Blue Note Classic Series (mono edition) is all-analog, mastered by Kevin Gray from the original master tapes.

Vinyl LP pressing. Recorded in the wee hours of Good Friday 1960, this charming and impromptu Pacific Jazz session captured the easygoing alchemy of The Modest Jazz Trio featuring Jim Hall on guitar, Red Mitchell on piano, and Red Kelly on bass. Good Friday Blues would be the trio's sole album, a sublimely swinging date that did indeed begin with the modest expectations of capturing a single track for a blues anthology that Richard Bock was producing. But the vibe was right, the trio was inspired, the music flowed, and by morning they had laid down six tracks including a pair of originals by Mitchell and renditions of songbook standards including "Willow Weep For Me," "I Remember You," and "I Was Doin' Alright." The drum-less setting allows Hall's gorgeous, subtle tone and melodic flow to shine while Mitchell-who was primarily known as a bassist-surprises with his impressive piano chops, and Kelly provides a sturdy base.

Jackie McLean’s 1962 album Let Freedom Ring reflected the change in the air of the early ‘60s: both the musical freedoms being explored by the emergent avant-garde movement and the social freedoms sought by the ascendent civil rights movement. This four-song set featuring the alto saxophonist with Walter Davis Jr. on piano, Herbie Lewis on bass, and Billy Higgins on drums melds the bluesy language of hard bop with the bristling energy of The New Thing. McLean’s emotive horn wails, shrieks, and soothes as the quartet moves through three striking McLean originals: “Melody For Melonae” (dedicated to his daughter), “Rene” (dedicated to his son), and “Omega” (dedicated to his mother). A plaintive rendition of the Bud Powell ballad “I’ll Keep Loving You” rounds out the date.

Limited 180gm vinyl LP pressing. Following the runaway success of The Sidewinder in 1964, Alfred Lion continued to record trumpeter Lee Morgan frequently in the hopes of capturing another funky boogaloo hit. While his subsequent albums may not have scaled the same commercial heights, Morgan certainly delivered the musical goods on his 1965 albums The Rumproller, The Gigolo, and Cornbread, all of which stand among the finest outings in his formidable discography. Recorded over two dates that Summer, The Gigolo featured Morgan with a dynamic quintet comprised of Wayne Shorter on tenor saxophone, Harold Mabern on piano, Bob Cranshaw on bass, and Billy Higgins on drums. A supremely confident set of swaggering hard bop, the album kicks off with the groovy opener "Yes I Can, No You Can't," one of four Morgan originals featured here along with the up-tempo gems "Trapped" and "Speedball," and stirring explorations of the 11-minute "The Gigolo." The album closes with an exceptional arrangement of the ballad "You Go To My Head" which sways with sensual movement.

Limited 180gm vinyl LP pressing. 1964 was a momentous year in the musical life of Wayne Shorter. At the start of the year the saxophonist was still a member of Art Blakey & The Jazz Messengers, appearing on classic Blue Note albums like Free for All and Indestructible. Shorter made his own auspicious label debut that spring with Night Dreamer and that summer he joined the Miles Davis Quintet cementing a line-up that would become one of the seminal bands in jazz history. When he returned to the studio for Blue Note in August it was in the company of three musicians with strong ties to John Coltrane: pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jones. The resulting album JuJu is a marvel in Shorter's formidable discography which presents six of his evocative original compositions including the churning title track, the mesmerizing "House of Jade," and the brightly swinging "Yes Or No."

Vinyl LP pressing. The late-1960s and early-1970s were a wildly creative period for Bobby Hutcherson with the vibraphonist freely exploring a wide range of stylistic possibilities from post-bop and the avant-garde to fusion and Latin Jazz. The cutting-edge 1969 session Medina-which wouldn't be first released until 1980 as part of the LT Series-documented one of Hutcherson's most remarkable band line-ups featuring two of his frequent collaborators-Harold Land on tenor saxophone and flute and Joe Chambers on drums-along with Stanley Cowell on piano and Reggie Johnson on bass. The set presented a pair of original compositions each by Hutcherson, Cowell, and Chambers that explored a variety of moods from the churning rhythms of "Avis" and "Medina" to the more atmospheric realms of "Comes Spring" and "Orientale."

Limited 180gm vinyl LP pressing. Lee Morgan's 1968 album Taru found the trumpeter at a crossroads exploring a variety of styles from modal jazz and post-bop to beautiful balladry and funky boogaloos. The band here is notable for the elevating presence of guitarist George Benson and the addition of tenor saxophonist Bennie Maupin. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes.

Vinyl LP pressing. Alfred Lion's inspired idea to pair tenor saxophonist Stanley Turrentine with The Three Sounds-the trio featuring pianist Gene Harris, bassist Andrew Simpkins, and drummer Bill Dowdy-on 1960's Blue Hour produced one of most deeply soulful hard bop outings in the Blue Note catalog. Both Turrentine and The Three Sounds were in the early days of their lengthy associations with the label at the time, the saxophonist having just recorded his leader debut Look Out a few months prior and the trio having debuted in 1958 with Introducing The 3 Sounds. Blue Hour is a smoldering late-night affair highlighted by seductive ballad performances of four standards: "I Want A Little Girl," "Gee Baby, Ain't I Good To You," "Since I Fell For You," and "Willow Weep For Me." At the album's center is Harris' spunky "Blue Riff," the sole uptempo number on this otherwise laid-back classic.

Vinyl LP pressing. The Magnificent Thad Jones is widely regarded as the greatest small group recording of the trumpeter and composer's career. Following his Blue Note debut Detroit - New York Junction in March 1956, Jones returned to the studio in July to record this supremely swinging date with Billy Mitchell on tenor saxophone, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums. The album opens with an iconic performance of "April In Paris," a reprise of the famous version featuring Jones that the Count Basie Orchestra had cut the previous year, complete with the trumpeter's sly "Pop Goes The Weasel" quote. Other highlights of the set include two Jones originals-the laid-back "Billie-Doo" and lightly swinging "Thedia"-as well as the stunning ballad "If Someone Had Told Me."

Vinyl LP pressing. Tenor saxophonist Clifford Jordan blew in from Chicago in 1957 and put the NYC jazz scene on notice with a trio of excellent Blue Note sessions including Blowing in from Chicago co-led with John Gilmore, the self-title Cliff Jordan, and Cliff Craft. This third album featured Jordan at the helm of first-rate hard bop quintet with Art Farmer on trumpet, Sonny Clark on piano, George Tucker on bass, and Louis Hayes on drums. Side 1 presented three Jordan originals including the sublime "Laconia," "Soul-Lo Blues," and the hard-swinging title track. Side 2 found Jordan playing well-known tunes by Charlie Parker, Dizzy Gillespie, and Duke Ellington including "Confirmation," "Anthropology," and a show-stopping version of the ballad "Sophisticated Lady."

Vinyl LP pressing. The winds of change were blowing through Wayne Shorter's life and career in 1970. The saxophonist had just left Miles Davis' group and was soon to form his collective fusion band Weather Report. His music was evolving too as he began to delve into his own unique fusion explorations on his previous two Blue Note recordings Super Nova and Moto Grosso Feio. Recorded in August 1970, the mesmerizing Odyssey of Iska would be the last release of Shorter's early Blue Note period. The album was a tribute to his daughter Iska-who had been born the year before with severe brain damage-with four immersive Shorter compositions portraying a variety of moods: "Wind," "Storm," "Calm," and "Joy." The album's centerpiece is an extended version of Bobby Thomas' Brazilian influenced piece "De Pois do Amor, o Vazio" (After Love, Emptiness), foreshadowing Shorter's growing interest in Brazilian music which he would explore further in the years to come. Shorter's soprano and tenor saxophones are the lone horns heard on the album which featured Gene Bertoncini on guitar, David Friedman on vibraphone and marimba, Ron Carter and Cecil McBee on bass, and Alphonse Mouzon, Billy Hart, and Frank Cuomo contributing drums and percussion.

Vinyl LP pressing. Recorded in 1956 for producer Tom Wilson's short-lived Boston-based label Transition Records, Byrd Blows On Beacon Hill presented trumpeter Donald Byrd in a relaxed and intimate quartet setting with his frequent collaborator Doug Watkins on bass along with Boston area musicians Ray Santisi on piano and Jim Zitano on drums. The standards heavy set was captured on a rainy Spring afternoon in the Beacon Hill home of engineer Steve Fassett which provided a casual atmosphere that gave the album both it's title and it's easy-going charm. Byrd is at his lyrical best on Joe Sullivan's tune "Little Rock Getaway" as well versions of "Polka Dots and Moonbeams," "If I Love Again," and "Stella by Starlight." The trumpeter lays out to let the trio shine on "People Will Say We're in Love" and "What's New."

After emerging from Terence Blanchard's band, pianist Aaron Parks made his own Blue Note debut in 2008 with Invisible Cinema, a striking album that has only grown in it's influence of the modern jazz landscape since it's release. Featuring a quartet with guitarist Mike Moreno, bassist Matt Penman, and drummer Eric Harland, the music drew inspiration from Wayne Shorter, Radiohead, and more. This Blue Note Classic Vinyl Edition was mastered by Kevin Gray and pressed on 180g vinyl at Optimal.

Double vinyl LP pressing. In 1999, the same year that Jason Moran released his debut recording Soundtrack To Human Motion, the pianist and composer also joined New Directions, a band made up of young stars from the Blue Note roster. At the core of New Directions was the genesis of a rhythm section-with Moran, bassist Tarus Mateen, and drummer Nasheet Waits-that would go on to become one of the most enduringly creative and acclaimed piano trios in jazz. The Bandwagon made their first recording as a trio with Facing Left in 2000 and has been the foundation of the majority of Moran's artistic statements since. On his 2010 album Ten, Moran celebrated the 10th anniversary of The Bandwagon with an assured album that was a snapshot of a mature band with a decade of shared musical experience from which to draw. In addition to provocative originals the album presented singular interpretations of pieces by Thelonious Monk, Jaki Byard, Leonard Bernstein, and Conlon Nancarrow. This first-time vinyl release includes the bonus track "Thelonious" previously only available in Japan.

Vinyl LP pressing. 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 tenor saxophonist Hank Mobley, pianist Horace Silver, bassist Doug Watkins, and drummer Art Blakey. Local Boston area trumpeter Joe Gordon joins the band for some friendly brass sparring with Byrd on several numbers, further adding to the album's jovial air of a blowing session. Everyone is in fine form on this 5-song set with Side A consisting of an extended stroll through Watkins' laid-back original "Doug's Blues" followed by some inspired trading between Byrd and Gordon on "El Sino." A beautiful rendition of the ballad "Everything Happens To Me" and two swinging Mobley pieces comprise Side B, bringing this highly-enjoyable date to a close.

Limited 180gm vinyl LP pressing housed in gatefold tip-on jacket. Bobby Hutcherson's 1968 album Total Eclipse was the vibraphonist's first recording to feature saxophonist Harold Land who would become a key collaborator for years to come. Rounding out the band were pianist Chick Corea, bassist Reggie Johnson, and drummer Joe Chambers on this impassioned post-bop set. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes.

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 for his contributions to the Art Blakey-Horace Silver co-led iteration of the Jazz Messengers as well as Bud Powell’s trio when Wilson decided to give him the opportunity to front his own recording date. Along with a first-rate ensemble featuring trumpeter Donald Byrd, tenor saxophonist Hank Mobley, guitarist Kenny Burrell, pianist Duke Jordan, and drummer Art Taylor, Watkins swings through a stellar set of blues, ballads, and more including originals written by Jordan, Burrell, and Thad Jones.