BLUE NOTE SET OF 10 JAZZ LP'S AT A ONE TIME 2016 SPECIAL PRICED PACKAGE -

COLLECTORS NOTE - ALL OF THESE PRESSINGS ARE RE-ISSUES BUT THEY WERE PRESSED WELL OVER A DECADE AGO BEFORE BAR CODES WERE EVER PLACED ON VINYL LP'S

CLIFF JORDAN/JOHN GILMORE - BLOWING IN FROM CHICAGO BLUE NOTE 1549

TINA BROOKS - TRUE BLUE - Blue Note RECORDS 4041

BLUE TRAIN - JOHN COLTRANE - BLUE NOTE RECORDS BST-81577  STEREO - 

FRED JACKSON - HOOTIN N TOOTIN -  BLUE NOTE 4094 - 

Lee Morgan Candy BN-1590 EDITION BLUE NOTE RECORDS

DONALD BYRD -  BLACK BYRD BLUE NOTE BN-LA047-F STEREO

FREDDIE REDD - SHADES OF REDD -  IN THE BLUE NOTE 4045 RECORDS PRESSING.

Kenny Dorham Afro-Cuban BLUE NOTE RECORDS 1535 LP

Hank Mobley - Dippin' BLUE NOTE 4209

GEORGE BRAITH WITH GRANT GREEN - TWO SOULS IN ONE  BLUE NOTE RECORDS - 4148 EDITION  STEREO - this is our only copy and we checked and it seems to be the last sealed copy of this edition left in the world.

ALL OUT OF PRINT RE-ISSUE PRESSING PRESSED OVER A DECADE AGO.

FACTORY SEALED LP - The nicest thing you can do for your stylus and ears. The ultimate record – the way music was meant to be heard.

E-BAY STORE.  FOR YOUR INDIVIDUAL audiophile heavy vinyl SELECTIONS - INDIVIDUAL TITLE INFORMATION OR INDIVIDUAL PURCHASE JUST HIT THIS STORES TAB >. & TYPE IN THIS TITLE IS ALSO ONE THAT MYMUSICFIX GIVES IT'S TOP RATING UNDER OUR CODE FIXPICKS INTO THE SEARCH FIELD WITHIN OUR STORES SECTION AS YOUR PERSONAL CODE FOR ALL INDIVIDUAL TITLES + INFORMATION WILL APPEAR.

 You should never pass up the opportunity to upgrade your collection. They're each very limited in their pressings and disappear with extraordinary quickness from the vinyl market. This causes prices to skyrocket because once they are gone, they are gone forever! Don't second-guess yourself with this chance to upgrade your collection because before you know it, the opportunity will have passed forever.

BLUE TRAIN - JOHN COLTRANE - BLUE NOTE RECORDS BST-81577  STEREO, the tenor sax giant had signed with another label when he embarked on this one-off date for Blue Note, an excursion that paid off with an enduring modern jazz masterpiece. Boasting volley after volley of smart soloing and intuitively swinging rhythm work, BLUE TRAIN is a joy, from the coolly precise ensemble entry on the opening title piece through the set’s balance of elegant hard bop conversations and smooth downshifts into ballads. John Coltrane wrote four originals, all of them now regarded as standards, and assembled a rhythm section including pianist Kenny Drew, Miles Davis’ rhythm section of bassist Paul Chambers and drummer Philly Joe Jones, and trumpeter Lee Morgan and trombonist Curtis Fuller. Coltrane’s signature sound, now fully developed but still hewing more to familiar blues and chromatic harmonies than his later modalities, is confident and expansive, and his partners respond vividly throughout. 

Tracks include: Blue Train – Moment’s Notice – Locomotion – I’m Old Fashioned – Lazy Bird.

 DONALD BYRD -  BLACK BYRD BLUE NOTE BN-LA047-F - 

DONALD BYRD/BLACK BYRD (LP) - Dr. Donald Byrd's deeply rooted jazz background never stopped him from constantly pushing jazz forward, opening the minds of his listeners in the process. Produced by Larry Mizell in 1973,Black Byrd is filled with beautiful music that captures his passion for sound. The sophisticated, uptempo instrumentals are funky and danceable, but also extremely smooth. Byrd's impeccable trumpet meshes perfectly with the African-influenced beats and rhythms.

1. Flight Time 2. Black Byrd 3. Love's So Far Away 4. Mr. Thomas - Donald Byrd, Jordan, Warren 5. Sky High 6. Slop Jar Blues 7. Where Are We Going? - Donald Byrd, Gordon, L.

While Miles Davis was making dark, brooding, introspective electric jazz,(which I love with all my heart,) Donald Byrd decided to investigate the other end of the spectrum. 

This music is light and joyous funk, with tight vocal arrngements and a fantastic session band. Byrd took the same vocal ideas he used on New Perspective, and applied them to Sly Stone grooves. This coctail resulted in sleek but subtinative music. Sweet, fat licks that you bite into like a chocolate cherry. Commercial? Yes. Top 40 material, absolutely. Right up there on 70s radio with Barry White and Steely Dan. Not bad company, right?

 Hank Mobley - Dippin' BLUE NOTE 4209

Lee Morgan, Harold Mabern, Larry Ridley and Billy Higgins join the great tenor saxophonist on this 1965 session featuring four Mobley originals, a beautiful ballad reading of "I See Your Face Before Me" and a terrific version of "Recado Bossa Nova."

Hank Mobley, tenor sax
Lee Morgan, trumpet
Harold Mabern, piano
Larry Ridley, bass
Billy Higgins, drums

Selections:
1. The Dip
2. Recado Bossa Nova
3. The Break Through
4. The Vamp
5. I See Your Face Before Me
6. Ballin'

 

Kenny Dorham Afro-Cuban BLUE NOTE RECORDS 1535 LP

Afro-Cuban, originally released in 1955 with only four tracks, was later released by Blue Note with three tracks added to the selections.

"...A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers." - almusic

Features:
• BLUE NOTE Vinyl LP 1535

 
Musicians:
Kenny Dorham, trumpet
J.J. Johnson, trombone
Hank Mobley, tenor saxophone
Cecil Payne, baritone saxophone
Horace Silver, piano
Percy Heath, bass
Oscar Pettiford, bass
Art Blakey, drums
Carlos "Patato" Valdes, conga

Selections:
1. Afrodisia
2. Lotus Flower
3. Minor's Holiday
4. Basheer's Dream
5. K.D.'s Motion
6. The Villa
7. Venita's Dance
CLIFF JORDAN/JOHN GILMORE - BLOWING IN FROM CHICAGO BLUE NOTE1549 - This session from March 1957 features the one time rhythm section of the Jazz Messengers -- Horace Silver, Curly Russell and Art Blakey

Clifford Jordan & John Gilmore's BLOWING IN FROM CHICAGO is a classic hard bop session by two windy city greats. This session from March 1957 features the one time rhythm section of the Jazz Messengers -- Horace Silver, Curly Russell and Art Blakey - joining the two tenor saxophonists, Jordan and Gilmore. Despite the fact that these two gentlemen play the same instrument, their sounds are quite different and distinct. While Gilmore's hard sound is almost alto-like, Jordan's tone is mellower and his pitch lower.

BLOWING IN FROM CHICAGO begins with the hard swinging "Status Quo" followed by "Bo-Till," which is marked by Blakey's latin-flavored opening flourishes. Gigi Gryce's "Blue Lights" is highlighted by fantastic rhythm trio interplay during Silver's piano solo, while "Billie's Bounce" is plenty bouncy thanks to Art's drumming. The album's last two tracks, "Evil Eye" and "Everywhere," are smooth, easy-going numbers, and a perfect conclusion to this fine recording

Lee Morgan Candy BN-1590 EDITION This classic Blue Note session finds trumpeter Morgan not having to battle other horns, just front-and-center with an all-star trio behind him. It was his only quartet recording as a leader, for Blue Note. The exquisite Sonny Clark on piano, Doug Watkins' solid bass and the ever-tasteful Art Taylor behind the drums complete these sessions recorded in Hackensack by RVG in Nov. '57 and Feb. '58. Loaded with standards, it's a hard-bop masterpiece that both swings and shows the ballad side of one of the defining young trumpeters from the late 50s - early 60s. Not discounting the contributions from the rhythm section, the high-caliber interplay between just trumpet and piano is a rare treat and a marvel to behold. 

Musicians: Lee Morgan, trumpet; Sonny Clark, piano; Doug Watkins, bass; Art Taylor, drums. 

Selections: 
1. Candy 
2. Since I Fell For You 
3. C.T.A. 
4. All The Way 
5. Who Do You Love I Hope 
6. Personality

FREDDIE REDD - SHADES OF REDD -  IN THE BLUE NOTE RECORDS RE-ISSUE PRESSING.

The Freddie Redd Quintet featuring Jackie McLean on alto sax, Tina Brooks on tenor sax, Paul Chambers on bass, Louis Hayes on drums accompanying Redd on piano is a monster Blue Note Mono. Tunes include "Thespian," "Blues Blues Blues," "Melanie," "Shadows," "Swift," "Just a Ballad for my Baby" and "Ole."

1.   Thespian 2.   Blues-Blues-Blues 3.   Shadows 4.   Melanie 5.   Swift 6.   Just a Ballad for My Baby 7.   Ole

TINA BROOKS - TRUE BLUE - Blue Note RECORDS 4041

Tina Brooks sound is unique: a bluesy, crying tone that is instantly recognizable. This release from 1960 contains top notch musicianship from a very young Freddie Hubbard, and the brilliant Duke Jordan, who is absolutely in tune with Brook's vision here.

Sadly, although Brooks recorded four sessions for Blue Note, this was the only one released in his lifetime. After hearing this, you will want to pick up Jackie McLean's "Jackie's Bag" and Freddie Hubbard's "Open Sesame" -- both prominently feature Tina Brooks playing and compositions from around the same time as "True Blue". 

Track Listings

1. Good Old Soul

2. Up Tight's Creek

3. Theme for Doris

4. True Blue

5. Miss Hazel

6. Nothing Ever Changes My Love for You

 FRED JACKSON - HOOTIN N TOOTIN -  BLUE NOTE 4094 RECORDS

 In Hootin' 'N Tootin' the listener is afforded the opportunity of hearing numbers of a famous orchestra noted for its smart arrangements along the rhythm and blues influence. The moods expressed are in the "down home" and "down to earth" groove. Under the leadership of Fred Jackson, tenor sax, the listener is propelled into the world of the new truth

1.   Dippin' in the Bag 2.   Southern Exposure 3.   Preach Brother 4.   Hootin' 'N Tootin' 5.   Easin' on Down 6.   That's Where It's At 7.   Way Down Home

GEORGE BRAITH WITH GRANT GREEN - TWO SOULS IN ONE  BLUE NOTE RECORDS - 4148 EDITION - this is our only copy and we checked and it seems to be the last sealed copy of this edition left in the world.

  - A nice player, although I'm not sure the "two horn thing" was all his idea. Roland Kirk started it, but Braith did a nice job carrying it out. Or at least for the short time he was in fame with his few Blue Note releases.

His sound, at first tends to sound like a scratchy tenor, but after a few listens, it gets appreciated. His compositions are very interesting.

Take the first track here, Mary Ann. When I first spun in it my player, I thought I was at the circus. It turned out to be a nice listen. You can almost not tell when he is soloing. I guess when you solo with two instruments at once, it get's a little stiff. You don't get as much freedom as you would with one at a time. The organ comps make the song! Grant Green takes it out before they go back to the melody. I like Dave Bailey's drumming on this piece. Very original, and fits the piece well.

Next, Home Street. It is in 3/4. Some more of the scratchy tenor sound. Donald Bailey, again, is doing some cool things on the drums. The melody is cool. Very original. It pretty much breaks up any of the boundries that were out at the time, and are out now. This piece swings very well.

The spanish tune that made Ahamad Jamal famous, Poicana comes in after Home Street. The dance of this song is so good. The group takes this song in a new direction. For this piece, the intro melody, is played by Green and Braith, before Braith takes the main melody by himself. Green takes the B section. Billy Gardner is one of those organists that don't get in the way. Grant Green says Larry Young doesn't. Well, true he doesn't get in the way, he does take over the song. Here, organist, Billy Gardner fits right in so well. His comping is magnificent. He makes the mood of the song what it is.

Mary Had A Little Lamb. I love when jazz musicians take obscure songs and turn them into, well respectable ones. This applies here for the appearence of, Mary Had A Little Lamb. This song clearly does not sound what it used to, to me, after listening to this album. They swing it in every which way. Perhaps, the first song on the album that drummer, Dave Bailey is playing a "normal" swing beat. he is so creative. I used to think Shelly Manne was the most musical drummer ever. Well, he still is in my book, but Dave Bailey, so underrated, just delivers such beautiful drumming here on this album. Some rhythms I never heard of, using a, tambourine. (?) This song is hot! Check out Gardners bass line on this song. Fits the song like a match made in heaven. Also, Grant Green's solo is on fire. One of my favorite guitarists. Who would of ever thought Mary Had A Little Lamb could swing!

This album is one of the most loose albums in jazz. Braith-A-Way, is so loose and free. Braith and his cohorts here certainly break all the rules here for this release. With this closing hyme, the group swings this slow blues down home.

In the liner notes, Nat Hentoff states, that Braith will go on to become a major aspect in jazz. Sadly, that was not the case. Braith was practically forgotten right after he made this recording. Maybe if we had more like him, the role of the jazz musician would be even more free than it already is. 

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On Sep-26-08 at 20:47:42 PDT, seller added the following information:

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