Back catalogue: All genres

Review: Lee Morgan's The Sidewinder, a cornerstone of Blue Note's catalog, is a vital release that revolutionised the jazz landscape. This album, renowned for its title track, launched the boogaloo trend with its infectious groove, making it a staple for both jazz aficionados and casual listeners. The real gem, however, is Totem Pole, a classic Latin swinger featuring Morgan's feisty trumpet, Joe Henderson's tenor sax harmonies, and Barry Harris's lyrical piano solo, reminiscent of McCoy Tyner. This track exemplifies the album's depth beyond its famous single. Recorded at Van Gelder Studio in 1963, the ensemble includes Bob Cranshaw on bass and Billy Higgins on drums, both delivering impeccable rhythmic support. The catchy piano riff and punishing beat of The Sidewinder secured its commercial success, helping Blue Note thrive and continue producing boundary-pushing jazz. Morgan's effortless precision, superb interplay with Henderson, Cranshaw's irresistible basslines, and Higgins's powerful backbeat create an irresistible momentum. Tracks like 'Gary's Notebook' and 'Boy, What a Night!' feature challenging lines and masterful solos, showcasing the musicians' prowess. The Sidewinder is not just a pivotal jazz record; it's a testament to Morgan's ability to inject excitement into his playing. The album's initial pressing, known for its Van Gelder stamp and Plastylite pressing, remains highly sought after by collectors. This release's impact on jazz and its enduring appeal underscore its importance in the genre's history.

Review: 1966 is when Lee Morgan laid down this immensely sleek and beautiful record for Blue Note, but it was shelved until, amazingly, 1984. Next to the trumpeter himself, the quintet here features Hank Mobley on tenor sax, plus Cedar Walton on piano, Paul Chambers on bass, and Billy Higgins on drums. They are all in fine fettle and the record has a number of standout tunes such as the Duke Pearson gem 'Is That So' and the lush title track by Morgan. This is another essential reissue from the on going Blue Note Tone Poet Series which paces high focus on the wealthy of each recording.

Review: Lee Morgan's The Sidewinder LP is actually a comeback record from one of Blue NOte's most regular and esteemed artists. A famously good hard bop trumpeter, he was a real master of his instrument who played with the Jazz Messengers as well as on his own, often as a tie man on various other fine Blue Note albums. This album came after he retuned to New York in late 1963 and was recorded with the up-and-coming Joe Henderson. It was an outlier to the rest of his catalogue and was a leftfield hit that was also used on a high-profile automobile ad campaign, thus helping to save the cash strapped Blue Note label itself.

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.

Review: Lee Morgan's Taru, recorded in 1968 but released in 1980, showcases the trumpeter at a pivotal point, exploring a variety of styles with a stellar band. This album is a gem, featuring George Benson's inspired solos on three tracks and Bennie Maupin's debut collaboration with Morgan, setting the stage for future classics like Caramba! and Live at the Lighthouse. The rhythm section, consisting of John Hicks on piano, Reggie Workman on bass, and Billy Higgins on drums, delivers a masterclass in hard bop. The album kicks off with 'Avotcja One,' a modal jazz piece that sets a dynamic tone. 'Get Yourself Together' charges forward with hard bop energy, while 'Haeschen' and 'Taru, What's Wrong With You?' showcase Morgan's ability to craft beautiful ballads. The gospel-tinged 'Dee Lawd' and the funky boogaloo 'Durem' add stylistic variety, making the six-song set a rich display of jazz. This Blue Note Tone Poet Series reissue is a true audiophile delight. Produced by Joe Harley and mastered by Kevin Gray from the original analog tapes, the 180g vinyl pressing at RTI ensures pristine sound quality. The deluxe gatefold tip-on jacket adds a touch of elegance.

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.