Blue Note was one of the, if not the, titan of jazz releases for much of the past century. This year marks the label’s 75th anniversary, and with that anniversary comes a huge initiative on the part of the Blue Note team to reissue many of its seminal works on vinyl. Their goal is a simple one: produce quality-sounding vinyl that faithfully reproduces the sound of the original recordings. Many of these LPs are available now at your local record store or for sale via many online retailers. It should be noted that these albums are available in traditional formats of CD, MP3, and box sets, but for the best listening experience possible, I highly recommend the vinyl reissues. Their clarity and workmanship is apparent in nearly every track—and, for purists, there really is no other way to listen to jazz from Blue Note except on vinyl.
With such a broad and extensive catalog—one that spans from 1939 to the present—Blue Note have taken on a massive undertaking. It is releasing five LPs a month for the remainder of 2014 and are continuing the trend well into 2015. Today’s List This entry is not designed to be comprehensive; acute readers will note the omission of some of Blue Note’s more famous players (e.g., Miles Davis, Dexter Gordon, Sonny Rollins, etc.). Rather, these LPs are spotlighted to give you, the listener, a good starting point for cherry-picking some of the highlights of their reissue campaign. Jazz, maybe more than any other genre of music, is highly subjective. Every listener has their favorites, their biases, their preferences, and this list is no different. But choosing 10 LPs from a list of hundreds is a daunting task, and there will be disagreements. Regardless, here is a primer, a beginner’s guide to Blue Note and the pervasive, cultural artifacts the label was able to provide; a document in time of the most authentic, American style of music. Enjoy.
Medeski, Martin, and Wood are the likely outlier in the list of Blue Note LPs, not only because they are “newest” group of jazz artists to make the list, but also because their brand of jazz is tinged with elements of fusion and hip-hop. MM&W are the type of jazz band that has distilled the influences of their forefathers into something genuine, new, and intriguing. Combustication is exactly as its title suggests; a melding of combustible elements that create a new jazz science. Whether its the trip-hop leanings or a infection of new beat swagger, this album is a prime example of where jazz can lead when its been filtered through the net of tradition and modernity.
New York Is Now! (1968)
Like Eric Dolphy, another truly avant garde jazz player, you have to be ready for Ornette Coleman. His brand of free jazz is alternately experimental and mind-blowing, and he never lets up on New York Is Now. Coleman, it seems, was never interested in rehashing the elements of “what was”; rather, he was (and still is) always looking forward to demolishing the boundaries of what jazz can be. On New York Is Now!, one of a handful of albums he created in the 1960s, tonality is key. He descends into the lower registers of his instrument, only to come back up for a giant gasp of air giving the listener just enough time to register the slow burn he’s cooking. Like Monk’s Genius of Modern Music, New York Is Now! is a great starting point for all things Coleman. It may not be his finest work (that is arguably The Shape of Jazz to Come), but it is the sturdiest and most solid LP from the one of the most celebrated innovators of the 20th century.
Ready for Freddie (1961)
Freddie Hubbard’s 1961 LP irons out some of the rougher edges of hard bop and turns them into a bouncing, melodic run of tracks that are simultaneously soothing and swinging. Its title is apt, for Ready for Freddie is a major milestone—an announcement, really—of Hubbard’s ability to maneuver within an entire band of swingers. Tracks like “Arietis” and “Crisis” are built around a grooved bass line, while “Birdlike” is a Charlie Parker ode that keeps Hubbard’s style fresh and new, even while paying homage to Parker. Hubbard typically gets overlooked for larger names in jazz, but Ready for Freddie is a powerhouse of showcase, with Hubbard leading the pack.
Speak No Evil (1964)
Speak No Evil’s track titles (“Witch Hunt”, “Dance Cadaverous”) are misleading. They read like horror titles or fairy tale tropes designed to scare children when the weather turns colder. But Wayne Shorter’s indelible album is anything but. It’s a gentle, at times, rolling walk through an Autumn evening, punctuated with lighthearted grooves (“Dance Cadaverous”) and Thelonious Monk-inspired piano trills. To say nothing of Shorter’s sax playing, which is always superb and always operates stylistically in the service of the song. Shorter is not flashy in the way other saxophonists can be, but his ear is always on time and always in tune. And that makes him a worthwhile performer.
Free for All (1964)
No list of jazz musicians is ever complete without mentioning Art Blakey. Blakey was one of the key inventors of modern bebop drumming, though Free for All tilts most decidedly into hard bop. Free for All has Blakey and the Jazz Messengers (Freddie Hubbard, Curtis Fuller, Wayne Shorter, Cedar Walton, and Reginald Workman) in full-on attack mode. Listen closely and you can hear Blakey’s drums start smoking under his tamed fury. It’s there on the title track and and the aptly named “Hammer Head”, both of which never let up for a second. Blakey always made great use of the snare, never afraid to substitute it for a ride cymbal shuffle. Here, his distinctive style, is the backbone of this small group and his drums are mixed higher into the sound—for good reason. Blakey is unmistakable; Free for All is proof of that.
// Notes from the Road
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