This summit meeting of the two giants of post-war American jazz attracted enormous attention and accolade from the world jazz fans when released in 1974. Jackie McLean (1931 - 2006) and Dexter Gordon (1923 - 1990) who were at their pinnacle of creative aptitude joined forces to thrill the packed fans at Copenhagen’s Jazzhus Montmartre in the summer of 1973.
After 49 years this 180g audiophile version may bring back the heat wave of jazz in Europe of the 70s.
“…McLean and Dexter are naturals to play together and on this album they are both at their best.” (B. McRae – Jazz Journal)
“This LP is a live recording of the best jazz performance from European live scene of 1973. I firmly believe that this document will carry its immortal value for the years to come…” (Teruo Isono – Swing Journal) 180g Audiophile Vinyl
The first attempt went awry. When Nat and his older brother Julian 'Cannonball' Adderley tried to start a quintet in the mid-fifties, hardly anyone was interested in the newcomers from Florida. And that, in retrospect, was good. Because the trumpeter Nat landed in this way in the bands of Jay Jay Johnson and George Shearing, and there refined, under expert guidance, his art of elegant blues-bopping ensemble playing. The alto saxophonist Cannonball in turn became Miles Davis' counterpart to tenor saxophonist John Coltrane for a good four years, a time he later described as the most artistically important of his life. When the brothers came together again in 1959, they had both matured and were ready to lead one of the most successful jazz bands of the 1960s. Unlike experimental colleagues who tested the limits of music, but more and more lost their audience, the Cannonball Adderley Quintet managed to reach a large audience with hits like "This Here", "Work Song", "Jive Samba" and above all "Mercy, Mercy, Mercy". No wonder, then, that a wave of applause greeted the Cannonball Adderley Quintet in the Liederhalle Stuttgart in 1969. Completed by bassist Victor Gaskin and drummer Roy McCurdy, they had brought with them just the right repertoire.
The Messengers expanded to a sextet with the addition of Curtis Fuller in 1961 and went into their most fruitful period. This Copenhagen live concert from 1962 could be arguably “the best edition of the Jazz Messengers ever” as liner-note author Neil Tesser suggests. Hubbart, Shorter and Fuller on the front line flexing their young muscles were all on their way to stardom. Recorded during their 1962’s European tour this album with all unissued recordings will be a valuable addition to Messengers’ legacy.
Falkoner Centret shortly after a modernist architectural make-over hosted a burgeoning young quintet headed by Cannonball Adderley in the spring of 1961. Though it was before they made their big splash on the soul-jazz front with hit tunes like Unit 7, Jive Samba, Cannonball’s successful 18-month tenure with Miles Davis put extra allure to the band. Previously unissued recording features English-born pianist Victor Feldman whose compositions make up the majority of repertory on this disc.
Vinyl LP pressing. The line up of drummer Art Blakey's Jazz Messengers shifted in 1961 with trumpeter Freddie Hubbard replacing Lee Morgan, pianist Cedar Walton replacing Bobby Timmons, and the addition of Curtis Fuller on trombone who joined existing members Wayne Shorter on tenor saxophone and Jymie Merritt on bass. This powerful new sextet line up first recorded on the album Mosaic, and quickly returned to the studio the next month to begin recording Buhaina's Delight.
Limited 180gm viny LP pressing in gatefold jacket. Mastered by Kevin Gray at Cohearent Audio from the original analog tape. Recorded in 1961, but not released until 1967, The Witch Doctor features one of Art Blakey & The Jazz Messengers' all-time great line-ups: Wayne Shorter on tenor saxophone, Lee Morgan on trumpet, Bobby Timmons on piano, and Jymie Merritt on bass. Shorter and Morgan each contribute two tunes, with Timmons penning one. Highlights include Morgan's spectacular 6/8 modal piece "Afrique" and Shorter's minor masterpiece "Those Who Sit And Wait." Bobby Timmons brings the deep soul goods on his composition "A Little Busy," and the album closes with a fleet-footed romp through Clifford Jordan's tune "Lost And Found." Blue Note Records' Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tape 180g audiophile vinyl reissues in deluxe gatefold packaging.
Blakey's most successful LP gave listeners Bobby Timmons' "Moanin'" and Benny Golson's "Along Came Betty" and "Blues March" - tunes so powerful that Blakey played them almost every night for the next 30 years! This beautifully performed and recorded session made the Jazz Messengers a jazz institution; this re-release includes 1 bonus track. Part of Blue Note's Rudy Van Gelder series of newly digitally remastered masterpieces featuring 24-bit technology and deluxe packaging.
The sequel to “Dr. Jackle” (SCCD 36005). Then 34 Jackie McLean was already a mature musician with personal style.
“...a live recording in which McLean performs with clarity and beauty backed up by a fine rhythm section...” (Thomas Millroth, Orkester Journal)
“The uncompromisingly original” Jackie McLean was the driving force of the early 60s’ Hard Bop and “Free” jazz. Within a year of this live session Jackie cut himself off the recording scene until he reappeared in SteepleChase’s first release “Live At Montmartre” SCCD 31001.
“...All modern collections should include a smattering of McLean..” (Jazz Journal)
“Jackie McLean, a true, acrobatic talent of alto sax...” (Jazz Hot)
Trumpeter Kenny Dorham (1924 - 1972) played in Dizzy Gillespie’s bop big band and then joined Charlie Parker’s quintet. He was a founding member of the Jazz Messengers. Also played in Max Roach’s quintet and co-led a group with Joe Henderson.
“...this is a true find...documenting Dorham in fine shape...One of best performance of Tete Montoliu...” (Swing Journal)
“...The trumpeter probably could not have found a better rhythm section for his 1963 European tour...there are enough privileged moments here to make this disc a must for serious students of the jazz trumpet...” (Cadence)
The sequel to Dorham’s highly acclaimed “Short Story” SCCD 36010 “not only contains superb examples of the mature Dorham style, but affords a rare opportunity for comparison with what might have been, by placing him alongside the famous Swedish trumpeter, Rolf Ericson, who hews to the more traditional, vertical style of Bebop trumpet.” (Chris Sheridan)
