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From: mfs@mhuxr.UUCP (SIMON)
Newsgroups: net.music
Subject: Reissues: On the Blue Note Trail (1 of 6)
Message-ID: <347@mhuxr.UUCP>
Date: Sat, 15-Jun-85 13:20:45 EDT
Article-I.D.: mhuxr.347
Posted: Sat Jun 15 13:20:45 1985
Date-Received: Sun, 16-Jun-85 00:53:15 EDT
Organization: AT&T Bell Laboratories, Murray Hill
Lines: 46

The return of Blue Note is a godsend to collectors who have been hunting
foe those hard to find gems. There are now three re-issue programs:
French, Japanese and American Blue Notes. They are generally equal in quality.
The imports cost a dollar more, but are completely faithful to the originals;
the domestic releases have minor cover differences (the label address, for
example, is missing). They all have the pristine production of Rudy Van Gelder
with modern mastering techniques. Well, without further ado.....
_______________________________________________________________________________

Cannonball Adderley: SOMETHING ELSE (1958)
This is to my knowledge the only record where Miles Davis plays but is not
the band leader since his successful comeback from heroin addiction in 1954.
His presence lends the session an gentle, elegiac feel that is markedly
different from the raunchy, bopping records Cannonball made later. Hank Jones'
piano shines throughout.

Sidney Bechet: JAZZ CLASSICS Volumes 1 and 2 (1952)
It is impossible to overpraise these records, the first ever by the
then fledgling Blue Note label. These were made between 1939 and 1946
and catch Bechet at his peak. They ALSO have such stellar personel
s Sidney De Paris, Art Hodes, Vic Dickenson, Meade "Lux" Lewis, Bunk
Johnson, J.C. Higginbotham... Included are THE definitive versions of
"Muskrat Ramble", "Summertime" "Old Stack O'Lee Blues" and many others.
This is the kind of record no collection should be without.

Art Blakey: A NIGHT IN BIRDLAND Volumes 1 and 2 (1954)
Clifford Brown's recording debut. The music crackles with his extroverted
tone, particularly on "Night in Tunisia", where he goes on for chorus
after chorus, with astonishing inventiveness. Then unknown pianist Horace
Silver contributes strong, percussive chording.

Art Blakey: MOANIN' (1958)
This is an alltime classic, for the title tune, and for "Blues March"
Here is the first full flowering of Lee Morgan's brilliant trumpet,
set in effective contrast with the throaty rumble of Benny Golson's
tenor sax. Bobby Timmons lays down piano lines that define the term
soulful. The kind of album one plays again and again.

Art Blakey: FREE FOR ALL (1964)
This later edition of the messengers features Freddie Hubbard, Wayne
Shorter, Curtis Fuller, Cedar Walton and Reggie Workman. This may have been
Blakey's best band (I say that in full awareness of the Who's Who of jazz
that has passed through the Messengers) Hubbard, Fuller and Shorter
crackle with competitive fire, while Walton cuts them all. Behind all
this sits Blakey himself, delivering swift kicks in the butt to whomever
shows signs of flagging.