Back catalogue: All genres

Review: The Tone Poet series is one in which Blue Note revisit some of its most classic albums and gives them some fresh attention. This vinyl edition of Stanley Turrentine's 1964 recording of Mr. Natural was produced by Joe Harley and has been mastered by Kevin Gray, who worked from original master tapes. It's pressed on 180g vinyl and comes in a lovely and deluxe gatefold tip-on jacket. It is a great record from the soulful tenor saxophonist and Blue Note stalwart with help from Lee Morgan on trumpet, Elvin Jones on drums, McCoy Tyner on piano, Bob Cranshaw on bass, and Ray Barretto on congas.

Review: Blue Note's superb Tone Poet Series continues with an album that resulted from Alfred Lion's inspired idea to put tenor saxophonist Stanley Turrentine and The Three Sounds - a trio including pianist Gene Harris, bassist Andrew Simpkins, and drummer Bill Dowdy - together on this album from 1960. Blue Hour stands as one of the most soulful hard bop albums in the Blue Note collection. Both Stanley Turrentine and The Three Sounds were at the outset of their enduring relationships with the label, with Turrentine recently debuting as a leader with "Look Out" and the trio introducing themselves in 1958 with "Introducing The 3 Sounds." This late-night session captivates with seductive renditions of four standards, including 'I Want A Little Girl,' 'Gee Baby, Ain't I Good To You' and 'Since I Fell For You.'

Review: Forces of Nature: Live at Slugs' is a thrilling, never-before-released live recording of jazz giants McCoy Tyner and Joe Henderson, captured at Slugs' Saloon in 1966. Joining them are bassist Henry Grimes and drummer Jack DeJohnette, forming a powerhouse quartet. The performance, unearthed from DeJohnette's personal archives after nearly six decades, showcases the intense musical chemistry between Tyner and Henderson, who were central figures in the 1960s jazz scene. The recording, originally engineered by Orville O'Brien, brings the energy and creativity of this 1966 set to life. With expert mastering by Matthew Lutthans, the sound is crisp and vibrant, transporting listeners back to the legendary Slugs' Saloon. Forces of Nature is a amazing look into an era of jazz brilliance.

Review: Here's a great example of a simple idea, brilliantly executed. It sees artists from the UK's contemporary musical underground - most, though not all, with roots in jazz - re-make tracks from the Blue Note catalogue in their own personal style. The result is a series of sublime and sometimes surprising covers, with highlights including Jorja Smith's deliciously bluesy and soulful nu-jazz take on St Germain's 'Rose Rouge', a sumptuous interpretation of Donald Byrd's smooth jazz-funk classic 'Wind Parade' courtesy of Jordan Rakei, Skinny Pelembe's Afro-tinged cosmic jazz version of the Sam Rivers Sextet's 'Illusion', a spacey, ultra-deep re-imagining of Eddie Henderson's 'Galaxy' by Alfa Mist and an incredible, classic-sounding recording of Dinah Washington favourite 'I'll Never Stop Loving You' by Yazmin Lacey.

Review: Total Refreshment Centre was a fabled jazz spot for London's urgent wave of young jazz artists bringing fresh vigour to the genre - so fabled in fact its legacy rings out way past the time the doors were closed. This compilation on Blue Note cements this idea by capturing just a little of the electricity buzzing round the place, with a vital spectrum of sounds which ping the very idea of jazz into new, exciting and crucially modern directions, with the likes of Soccer96, Byron Wallen, Zeitgeist Freedom Energy Exchange and Neue Grafik all bringing the heat.

Review: The first Blue Note Re:imagined album was frankly brilliant - an imaginative, inspired and thoroughly brilliant set of covers of classic cuts from the label's catalogue, expertly realised by a cast of 21st century UK jazz and soul talents - so hopes are naturally high for this sequel. We shouldn't have worried, to be honest, because it's another terrific collection. Our picks of a very strong bunch include Swindle's orchestra-sporting, jazz-funk-goes-hip-hop-soul take on Donald Byrd's 'Miss Kane', Ego Ella May's gently dubby, head-nodding and sunrise-ready re-imagining of Chico Hamilton's 'The Morning Side of Love', an ultra-dreamy, pedal steel-sporting cover of 'Harvest Moon' courtesy of Maya Delilah, and a tactile neo-soul interpretation of Marlena Shaw classic 'Feel Like Making Love' by Kay Young. Impeccable.

Review: You may have caught the striking quality of Ego Ella May and Theon Cross' lead single for Blue Note Re:imagined II, and now the full compilation has arrived. For such a long-standing, heritage label, Blue Note have recognised the renewed moment jazz is having and responded with an exciting look into those artists forging new paths. Given the importance of tradition and roots within jazz, it's fascinating to see how a new generation tackle totemic works from Blue Note's gargantuan history. From Nubiyan Twist to Conor Albert, Maya Delilah to Reuben James, the featured artists serve as a crucial primer of what's good in jazz right now, and the hit rate is high from start to finish.

Review: The reissue of Doug Watkins' seminal album Watkins at Large provides an essential restoration of a jazz classic, originally recorded in 1956. This Tone Poet Vinyl Edition, meticulously produced by Joe Harley and mastered from the original analog tapes by Kevin Gray, offers aficionados a pristine auditory experience. This version is presented in a deluxe tip-on jacket with an included booklet. At just 22 years old, Watkins led a remarkable ensemble featuring jazz icons such as Donald Byrd on trumpet, Hank Mobley on tenor sax, Kenny Burrell on guitar, Duke Jordan on piano, and Art Taylor on drums. This album features Watkins' masterful bass play, as he navigates through blues, ballads, and more with his band. Tracks like 'Return to Paradise' and 'Phil T. McNasty's Blues' highlight Watkins' ability to blend seamlessly with and support his stellar lineup, making Watkins at Large a must-have. This reissue is not only a tribute to Watkins' legacy but also a necessary addition for collectors and new fans alike, given the rarity and high cost of original pressings.

Review: Acclaimed saxophonist and composer Immanuel Wilkins's third studio album, Blues Blood, is quite possibly his most expansive yet. Co-produced by Meshell Ndegeocello, the meditative project features his quartet with Micah Thomas on piano, Rick Rosato on bass and Kweku Sumbry on drums alongside vocalists Ganavya, June McDoom, and Yaw Agyeman. Special guests include vocalist Cecile McLorin Salvant, guitarist Marvin Sewell, and drummer Chris Dave. Blues Blood explores ancestral legacies and bloodlines, and the album marks the first time Wilkins has incorporated vocalists into his work with each voice contributing a unique dimension to themes of heritage and connection. That helps to make this a deeply reflective and resonant album.

Review: Hot on the heels of Blue Note's 2024 lineup announcement of their esteemed Tone Poet series - which reissues classic jazz albums for a contemporary audience hungry for audiophile quality editions - comes this eagerly-awaited new version of Anthony Williams' Life Time. A five-piece north star of free jazz and debut record by the expansive drummer, the album held a crucial repute throughout Williams' career as the inspirational namesake of his later band with John McLaughlin, the Tony Williams Lifetime Band. This one, however, pre-empts this movement and instead hears contributions from such greats as Richard Davis, Herbie Hancock and Ron Carter, riding high on the wave of divine-genius-by-proxy after already having performed with Miles Davis at the age of 18. Blast back to 1964 with this ideal free jazz intro.

Review: American jazz drummer Tony Williams rose to acclaim as a member of Miles Davis' so-called 'Second Great Quintet'. He later went on to pioneer jazz fusion with the group and formed his own outfit, the Tony Williams Lifetime. In 1986 he released 'Civilization', which marked a triumphant return to Blue Note and a great window into his visionary approach to jazz. Leading a stellar acoustic quintet with Wallace Roney (trumpet), Billy Pierce (sax), Mulgrew Miller (piano) and Charnett Moffett (bass), Williams served up a dynamic set of original compositions that pulse with intensity and technical brilliance, as well as emotional depth, while taking post-bop tradition into new relays. Each player brings sharp improvisational insight, but it's Williams' explosive yet precise drumming that anchors the session.

Review: Easterly Winds by Jack Wilson is a jazz classic that showcases the pianist's virtuosity and emotive depth. Released now as part of the Tone Poet Series, the album encapsulates Wilson's ability to blend intricate harmonies with soulful improvisation. The gentle yet evocative melodies, carried by Wilson's nimble fingers, capture the essence of cool jazz elegance. The interplay between piano, bass, and drums creates a contemplative atmosphere across the record that is reminiscent of a breezy journey guided by the titular easterly winds. As such, the record stands as a timeless example of his artistry and one that left a fine mark on the landscape of jazz.

Review: Larry Young was an American jazz organist, whose claim to fame lay in his use of the Hammond B3 organ in a genre context it wasn't regularly used for: post-bop. 'Unity' came out in 1965, and saw him collaborate with trumpeter Woody Shaw, saxophonist Joe Henderson, and drummer Elvin Jones. The aim was to transcend each artist's tendency towards individualism, producing a stunning mood piece that brought out the organ in a surreptitious yet noticeable context. Young's playing renders the instrument popping, bright and vibrant.