270 results for "rvg edition" between $5.00 and $25.00

Description: It's 1967, and Jackie McLean brings Ornette Coleman in to play trumpet. This is a powerful and classic take on the New Thing of the day.

Pages: 1246, Edition: 1st, Leather Bound, Chick Pub

Personnel: Hank Mobley (tenor saxophone); Art Farmer (flugelhorn); Horace Silver (piano); Doug Watkins (bass); Art Blakey...

This CD reissue does not have tenor saxophonist Johnny Griffin's first recording as a leader (he made a few sides for OKeh in 1953 and a full album for Argo a few months earlier in 1956), but it gained Griffin a great deal of attention. Soon billed as "the world's fastest saxophonist," Griffin was also a superior ballad interpreter with a fairly distinctive tone of his own. With strong support given by pianist Wynton Kelly, bassist Curly Russell, and drummer Max ******, Griffin romps on three of...

Fantastic stuff! This was one of Grant Green's first ever sessions, and it's a winner all the way through! Dave Bailey and Ben Tucker back up the young Grant in a set of impeccably played guitar grooves that showcase the brilliant technique of this young genius – straight and to the point guitar jazz, with a soulful feel that gives the album a really warm finish. The whole thing's great – and the album's got some great original titles that include "No 1 Green Street", "Grant's Dimensions", and...

Johnny Griffin had been kicking around in R & B bands for years before his Blue Note debut in 1956. A tenor saxophonist with a fresh sound, a warm, soulful style and the fastest technique in jazz, he moves from lyrical ballads to blistering tempos with ease. Two bonus tracks from the session have been added to the original LP. The first class accompaniment is provided by Wynton Kelly, Curly Russell and Max Roach. Within two years, Griff would become one of the leading tenor saxophonists in jazz as...

Personnel: Booker Ervin (tenor saxophone); Jaki Byard (piano); Richard Davis (bass); Alan Dawson (drums).

Tenor saxophonist Wayne Shorter's Blue Note debut found him well prepared to enter the big time. With an impressive quintet that included trumpeter Lee Morgan, pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jones, Shorter performed a well-rounded program consisting of five of his originals (this CD reissue adds an alternate take of "Virgo") plus an adaptation of an "Oriental Folk Song." Whether it be the brooding title cut, the Coltrane-ish ballad "Virgo," or the long modal jams on...

Bobby Hutcherson's second quartet session, Oblique, shares both pianist Herbie Hancock and drummer Joe Chambers with his first, Happenings (bassist Albert Stinson is a newcomer). However, the approach is somewhat different this time around. For starters, there's less emphasis on Hutcherson originals; he contributes only three of the six pieces, with one from Hancock and two from the typically free-thinking Chambers. And compared to the relatively simple compositions and reflective soloing on Happenings...

Compulsion continues Andrew Hill's progression, finding the pianist writing more complex compositions and delving even further into the avant-garde. Working with a large, percussion-heavy band featuring Freddie Hubbard (trumpet, flugelhorn), John Gilmore (tenor saxophone, bass clarinet), Cecil McBee (bass), Joe Chambers (drums), Renaud Simmons (conga), Nadi Qamar (percussion), and, for one track, Richard Davis (bass), Hill has created one of his most challenging dates. The extra percussion is largely...

The Dexter Gordon album Clubhouse has had somewhat of an ill-fated history. Gordon had been living since 1962 in Europe, but he returned to the states briefly in 1965 to fulfill some contractual obligations, which included delivering two albums for Blue Note Records. A single long session on May 1927, 1965 featuring a quintet of Gordon on tenor sax, Freddie Hubbard on trumpet, Barry Harris on piano, Billy Higgins on drums and Bob Cranshaw on bass (Ben Tucker plays bass on his own composition "Devilette...

Sonny Clark's fifth Blue Note recording as a leader is generally regarded as his best, especially considering he composed four of the seven tracks, and they all bear his stamp of originality. What is also evident is that he is shaping the sounds of his quintet rather than dominating the proceedings as he did on other previous dates. Tenor saxophonist Charlie Rouse and trumpeter Tommy Turrentine play very little harmony on the date, but their in-tune unison lines are singularly distinctive, while...

Donald Byrd was at his peak as a straight-ahead hard bop band leader in the early '60s, turning in a series of remarkably solid, enjoyable sessions for Blue Note. Royal Flush is no exception to the rule. Recorded in the fall of 1961, Royal Flush finds Byrd once again working with baritonist Pepper Adams, but adding bassist Butch Warren, drummer Billy Higgins, and, most importantly, a young pianist named Herbie Hancock. For the most part, the quintet plays a set of vital hard bop, swinging ******...

Some of the freest, most far-reaching work that Sam Rivers ever cut for Blue Note – a set recorded in 1967, but not issued until nearly a decade later by the label! The album's a great precursor of some of the work that Sam would do later in the 70s – still somewhat in a "new thing" mode, at points, but also sharper, and more angular too – with a nice sense of space in the playing. The group is a piano-less one – with Sam on reeds, joined by James Spaulding on alto, Donald Byrd on trumpet, Julian...

The only Blue Note album ever cut by pianist Walter Davis Jr – but a heck of a hard-swinging set, and possibly his greatest album ever! Although Davis is more frequently heard in trio formation as a leader, this set brings him back to the mode used during some of his bop sideman dates of some years before – two completely solid horn players in the frontline, Donald Byrd on trumpet and Jackie McLean on alto – both blowing with a tremendous amount of soul and spirit on each track! Jackie's nicely...

It isn't too difficult to understand why MFSL considered this album to be a worthy candidate for an Ultradisc reissue -- aside from Cannonball Adderley, you have a lineup that includes Miles Davis, Hank Jones, Sam Jones, and Art Blakey. This is a group that could take on a Barry Manilow number and turn it into a jazz masterpiece. MFSL have done the purchaser a favor, too, by including an additional track that was left off the original album. This sixth track, "Alison's Uncle," closes out Somethin...

Tenor saxophonist Hank Mobley has been called underrated so many times that the word may as well have been his middle name, and when combined with the numerous financial, personal, and health issues the saxophonist endured during his career, it all added up to a middle of the pack position in the jazz canon. He truly deserves a reevaluation. This delightfully warm set was cut on March 8, 1957 with Mobley on tenor sax, Art Farmer on trumpet, Horace Silver on piano, Doug Watkins on bass, and the energetic...