Back catalogue:

Review: The reissue of Booker Little 4 & Max Roach as part of the Tone Poet Vinyl Series is an exciting announcement for jazz fans. Booker Little, a brilliant trumpeter whose life was tragically cut short at 23, left an indelible mark on the jazz world. This 1958 album, recorded when Little was just 20, showcases his extraordinary talent both as a musician and composer. The LP features the dynamic interplay between Little and Max Roach, one of jazz's most influential drummers, along with George Coleman on tenor sax, Tommy Flanagan on piano and Art Davis on bass. It opens with a spirited rendition of Miles Davis' 'Milestones', setting the tone for the session, before the standards 'Sweet and Lovely' and 'Moonlight Becomes You' are given fresh interpretations. But the heart of the album lies in Little's original compositions: 'Rounder's Mood,' 'Dungeon Waltz,' and 'Jewel's Tempo.' These tracks highlight his inventive melodic sense and technical strength. The Tone Poet Series ensures an audiophile-quality experience, with meticulous mastering by Kevin Gray and a deluxe presentation that lives up to the highest standards.

Review: American alto talent Jackie McLean released his Tippin The Scales album in 1979 on the legendary Blue Note. It was a post bob record that has rather remained under the radar in the years since, but will still cost you a pretty penny if you can find a second hand copy. The Tone Poet serve brings it back to the fore with a deluxe reissue package that allows the tunes to really shine. Jackie wrote two of them while Sonny Clark write three and one is a J. Latouche and V. Duke collaboration. The record was recorded on September 28, 1962 and is one of the more traditional records in McLean's oeuvre.

Review: Alto saxophonist Jackie McLean's 1960s output ran the gamut from hard bop to the avant-gard, with his 1964 post-bop dates It's Time! and Action splitting the difference. Now reissued for Blue Note's Tone Poet series, this reissue of the latter LP follows up Rudy Van Gelder's 2004 curator's edition; McLean's playing is lithe and limber here, piquing out from each mix - from the opening fan-outs of 'Plight' to the continual peacockings of 'I Hear A Rhapsody' - as if to suggest that McLean himself knows that his instrument resounds at the exact high frequency that naturally commands human attention. With the Tone Poet series primed for audiophiles, you're in for a treat.

Review: Jackie McLean's Let Freedom Ring (1962) marks a pivotal moment in his career, where he boldly steps into uncharted territory, blending hard bop with avant-garde elements. The album, recorded at Van Gelder Studio, features McLean on alto sax, supported by Walter Davis Jr. on piano, Herbie Lewis on bass, and Billy Higgins on drums. The track 'Omega' stands out for its innovative approach, blending syncopated bass and piano rhythms with sharp, high-register saxophone lines. The song shifts effortlessly between tempos, showcasing the tight interplay between McLean and his band, particularly Higgins' relentless drumming and Davis' rhythmic accents. While 'Melody for Melonae' often receives attention for its emotive power, 'Omega' exemplifies McLean's forward-thinking vision, offering a spacious and harmonically rich canvas that predates many later "modern" jazz experiments. The album's overarching theme of "freedom" resonates on multiple levelsimusical, expressive, and perhaps even socialireflecting McLean's journey beyond traditional hard bop into a more liberated, dissonant sound. McLean's collaboration with Blue Note during this period produced a series of groundbreaking records, with Let Freedom Ring standing as a testament to his willingness to challenge conventions while staying rooted in the vibrant energy of jazz.

Review: As fast-rising underground stars in their own right, you'd expect any collaborative album from soul-fired South London singer/songwriter/beat-maker Tom Misch and prolific jazz drummer Yussef Dayes (best known for his now long-running collaboration with Kamaal Williams) to be rather good. "What Kinda Music" is, with the pair mixing and mangling elements of soul, jazz-funk, electronica and jazz, a set that defies easy categorisation. Both musicians exceed themselves throughout, with tipsy electronics, sweeping strings, bass, effects-laden guitars, woozy synth lines and Misch's heartfelt, soul-flecked vocals offering a perfect foil for Dayes' loose-limbed, headline-grabbing drumming.

Review: Blue Jazz's on going Tone Poet Series - which is about reissuing classic jazz on heavyweight, audiophile quality vinyl - throws out another gem here with the Hank Mobley classic Soul Station. Hank started out as a pianist before moving to the tenor sax aged 16. He put plenty of emotion and intensity into every note he played and during the years 1955-1970 he fronted more than 25 Blue Note albums as well as being a sideman on many others. This record captures him at the peak of his powers with a lyrical playing style and length, passionate solos.

Review: By 1960, Georgia-born tenor saxophonist Mobley was at the height of his powers, crafting a trilogy of hard bop masterpiecesiSoul Station, Roll Call and Workout. Roll Call, the middle entry, finds Mobley leading an inspired quintet featuring the young and fiery Freddie Hubbard on trumpet, alongside the rock-solid Soul Station rhythm section of pianist Wynton Kelly, bassist Paul Chambers and the explosive Art Blakey on drums. The result is a hard bop stunner, bursting with energy, interplay and lyrical phrasing. This reissue opens with the dynamic title track, a minor-key powerhouse that jumps out of the speakers, pushing each musician to deliver their best. Mobley and Hubbard's chemistry is electrifying, their solos crackling with urgency. The swaggering 'My Groove Your Move' follows, built on a confident, swinging groove, while 'A Baptist Beat' channels the deep, soulful call-and-response tradition of the black church. A second take of the latter further showcases the group's enthusiasm and spontaneity. The album's only standard, 'The More I See You', is a sublime moment of restraint, with Hubbard's use of the harmon mute adding a delicate, smoky touch. Mobley's playing here epitomises his gift for melodic improvisationisubtle yet deeply expressive. His warm, bluesy tone and sophisticated phrasing made him one of the most lyrical saxophonists of his era. Even decades later, Roll Call remains a cornerstone of hard bop.

Review: Few jazz saxophonists were as majestic as Hank Mobley. He had a unique sound that sat in between the rawness of John Coltrane and the smoothness of Stan Getz and released a number of now-classic albums. Soul Station has already had the Tone Poet Series treatment and next up to get remastered and come on new audiophile vinyl is A Caddy For Daddy. He had already been a But Note artist for some 10 years when he recorded this one in 1965. It finds him alongside a first-class sextet with Lee Morgan on trumpet, Bob Cranshaw on bass, McCoy Tyner on piano, Billy Higgins on drums and Curtis Fuller on trombone.

Review: Hank Mobley might not be so well known among the greats of saxophonic jazz, but that probably boils down to him making No Room For Squares. Indeed, only the coolest of the menthol-cool were permitted access to this album and Mobley's performances at the time of its release; this was undoubtedly a self-selecting process ensured by the garnering of some of the hottest talents of the day on band duties, including Herbie Hancock on piano, Donald Byrd on trumpet, and Butch Warren on bass. Moving like an effortless meandering current slinking downstream, the six tracks on this vinyl reissue put on effortless instrumental airs.

Review: Tenor saxophonist Hank Mobley's peak in the early 1960s produced a series of hard bop classics including Soul Station, Roll Call, Workout, No Room For Squares, and The Turnaround. Recorded in 1961, Workout showcased Mobley's prowess alongside guitarist Grant Green, pianist Wynton Kelly, bassist Paul Chambers and drummer Philly Joe Jones. Featuring four dynamic Mobley originals and one standard, the album inspired vigorous improvisations. This Blue Note Classic Vinyl Edition, mastered by Kevin Gray from the original tapes, presents a stereo, all-analog experience on 180g vinyl for maximum enjoyment.

Review: Recorded in the early hours of Good Friday 1960, Good Friday Blues captures the spontaneous brilliance of The Modest Jazz Trio, led by Jim Hall on guitar, Red Mitchell on piano and Red Kelly on bass. Originally intended to record a single track for a blues anthology, the session evolved into a full album as the trio's effortless chemistry and musical inspiration turned the night into a memorable session. The resulting six tracks include Mitchell's originals and interpretations of standards like 'Willow Weep For Me' and 'I Remember You.' The absence of drums highlights Hall's delicate guitar tones and Mitchell's surprising piano talents, with Kelly's bass providing a solid foundation. One of the more underrated jazz albums for the time, this reissue should help catapult it to the level of attention it deserves.

Review: Following the runaway success of 1964's The Sidewinder, Alfred Lion continued to record Lee Morgan in pursuit of another boogaloo hit. While subsequent albums like 1965's The Rumproller, The Gigolo, and Cornbread didn't match the same commercial heights, they showcased Morgan's musical prowess. Recorded over two summer dates, The Gigolo features Morgan leading a quintet with Wayne Shorter, Harold Mabern, Bob Cranshaw, and Billy Higgins. This set of swaggering hard bop includes Morgan's originals like the groovy Yes I Can, No You Can't, up-tempo gems such as 'Speedball,' and the stirring 11-minute title track. The album closes with a lush arrangement of 'You Go To My Head,' adding a sensual sway to the collection. This Blue Note Classic Vinyl Edition presents the album in stereo, all-analogue, mastered by Kevin Gray from the original tapes, and pressed on 180g vinyl at Optimal, preserving Morgan's dynamic performances and the quintet's vibrant interplay for contemporary listeners and ardent vinyl enthusiasts.

Review: Lee Morgan's Search For The Land is a soulful exploration of jazz that now gets reissued as part of this classic series son the iconic Blue Note. Released first in 1966, the record showcases Morgan's virtuosity as a trumpeter and composer. With a lineup featuring heavyweights like Wayne Shorter and Herbie Hancock, each track is a journey through intricate melodies and dynamic rhythms. From the exhilarating title track to the introspective 'Melancholee,' Morgan's next level improvisation and emotive phrasing shine throughout. The album's rich textures, buoyant grooves, and evocative solos make it an evergreen gem in the jazz canon and one that captures the essence of Morgan's musical vision with unparalleled depth and allure.