1,2,4,5: CARMELL JONES, trumpet JOE HENDERSON, tenor saxophone HORACE SILVER, piano TEDDY SMITH, bass ROGER HUMPHRIES, drums 3,6-10: BLUE MITCHELL, trumpet JUNIOR COOK, tenor saxophone HORACE SILVER, piano GENE TAYLOR, bass ROY BROOKS, drums

Hank Mobley - tenor saxophone Lee Morgan - trumpet Harold Mabern, Jr. - piano Larry Ridley - bass Billy Higgins - drums

Baritone Saxophone – Pepper Adams (tracks: B2) Bass – Gene Perla Clarinet [Alto] – Frank Foster (tracks: B3) Composed By – Chick Corea (tracks: B1), David Liebman (tracks: A2), Frank Foster (tracks: B3), Gene Perla (tracks: A1,A5), Jan Hammer (tracks: A3), Joe Farrell (tracks: A4), Keiko Jones (tracks: B2) Congas – Don Alias (tracks: A1, A3, A5, B1) Drums – Elvin Jones Engineer – Rudy Van Gelder Flute – Joe Farrell (tracks: A4,B2,) Guitar – Yoshiaki Masuo (tracks: A1, A4) Photography By – Norman Seeff Piano – Chick Corea (tracks: A4, A5, B1), Jan Hammer (tracks: A1, A2, A3, A5) Producer – George Butler Soprano Saxophone – David Liebman (tracks: A1, A2, B1, B2, B3), Joe Farrell (tracks: A2, B1, B3) Tenor Saxophone – Steve Grossman (tracks: A1, A2, B1, B2)

Donald Eugene Cherry (November 18, 1936 – October 19, 1995) was an American jazz trumpeter. Cherry had a long association with free jazz saxophonist Ornette Coleman, which began in the late 1950s. Cherry was also a pioneer in world fusion music in the 1960s and 1970s

Recorded：March 18, 1964 Charles Mingus – double bass Eric Dolphy – alto saxophone, bass clarinet, flute Johnny Coles – trumpet Clifford Jordan – tenor saxophone Jaki Byard – piano Dannie Richmond – drums

Sonny Clark - piano Donald Byrd - trumpet Curtis Fuller - trombone John Coltrane - tenor saxophone Paul Chambers - bass Art Taylor - drums

Sonny Clark was ubiquitous at Blue Note sessions and led a handful of great albums of his own along the way. Cool Struttin' has a wonderful after-hours feel, especially on the extended title blues.

On the heels of Matador and Solid, two of his most advanced albums, Grant Green decided to continue the more modal direction he'd begun pursuing with the help of members of Coltrane's quartet. Accordingly, he hooked up with organist Larry Young, who was just beginning to come into his own as the first Hammond B-3 player to incorporate Coltrane's modal innovations into his own style. Talkin' About is the first of three albums the Green/Young team recorded together with Coltrane drummer Elvin Jones, and it's exceptional, one of the most underrated items in Green's discography. With just a basic organ trio lineup, the album works a fascinating middle ground between the soul-jazz of Green's early days and the modal flavor of his most recent work. Though Young's style wasn't quite fully formed yet, he's no longer the in-the-pocket Jimmy Smith disciple of his earliest sessions; his playing here is far more adventurous than the typical soul-jazz date, both harmonically and rhythmically. Jones and Young often play off one another to create an intricate, percolating pulse that's miles ahead of the standard soul-jazz groove. The trio's interplay is best showcased on Young's Coltrane tribute, "Talkin' About J.C.," a monster jam that's worth every one of its nearly 12 minutes, and the cheerful "I'm an Old Cowhand," popularized as a jazz tune by Sonny Rollins. Meanwhile,Young and Green positively shimmer together on the ballad numbers, "People" and "You Don't Know What Love Is." It all makes for a terrific album that ranks in Green's uppermost echelon. Grant Green - guitar Larry Young - organ Elvin Jones - drums

Over a five-week period in early 1962, Grant Green recorded three amazing quartet sessions with Sonny Clark on piano, Sam Jones on bass, and Louis Hayes or Art Blakey on drums. As magnificent as the results were, the three albums, considered too progressive for Green's soul-jazz following, languished in the vaults for 18 years. In 1980, "Airegin," the session with Blakey, came out in the United States, while the two with Hayes ("Gooden's Corner" and "Oleo") came out only in Japan. Later issued briefly on Mosaic with three bonus tracks, they have since become collectors' items of legendary proportions. Now Blue Note is finally making them available on this specially-priced 2-CD set. Some of the best music Grant Green ever recorded. [Super Bit Mapping] THE COMPLETE QUARTETS WITH SONNY CLARK includes the albums AIREGIN, GOODEN'S CORNER and OLEO as well as 3 additional tracks.

Ike Quebec's 1961-1962 comeback albums for Blue Note were all pretty rewarding, but Blue and Sentimental is his signature statement of the bunch, a superbly sensuous blend of lusty blues swagger and achingly romantic ballads. True, there's no shortage of that on Quebec's other Blue Note albums, but Blue and Sentimental is the best one by far. Quebec was a master of mood and atmosphere, and the well-paced program here sustains his smoky, late-night magic with the greatest consistency of tone. Part of the reason is that Quebec's caressing tenor sound is given a sparer backing than usual, with no pianist among the quartet of guitarist Grant Green, bassist Paul Chambers, and drummer Philly Joe Jones. It's no surprise that Green solos with tremendous taste and elegance (the two also teamed up on Green's similarly excellent Born to Be Blue), and there are plenty of open spaces in the ensemble for Quebec to shine through. His rendition of the Count Basie-associated title cut is a classic, and the other standard on the original LP, "Don't Take Your Love From Me," is in a similarly melancholy vein. Through it all, Quebec remains the quintessential seducer, striking just the right balance between sophistication and earthiness, confidence and vulnerability, joy and longing. It's enough to make Blue and Sentimental a quiet, sorely underrated masterpiece. Personnel includes: Ike Quebec - Piano, Sax (Tenor) Grant Green - Guitar Paul Chambers - Bass "Philly" Joe Jones - Drums

Guitarist Grant Green and pianist Sonny Clark recorded together on five separate occasions during the 1961-1962 period, but virtually none of the music was released domestically until decades later. These performances were clearly lost in the shuffle, for the solos are of a consistently high quality, and the programs were well-paced and swinging. Now, the long-lost music (much of which had been previously available only in Japan) is saved for posterity on this Mosaic limited-edition four-CD box set. Green and Clark blend together well. Tenor saxophonist Ike Quebec joins their quartet for one session, and the final two numbers add Latin percussion. All of this music should be enjoyed by hard bop fans. Included are the Blue Note albums Gooden's Corner, Nigeria, Oleo, Born to Be Blue (with Ike Quebec), and unissued tracks.

Hank Mobley为Blue Note录制的最后一张唱片，也是他最后一次作为领队的，是“Think of Home”。从1970年的7月，Mobley和乐团成员就为了这次录音，回到Rudy Van Gelder的录音室。开篇曲目“Suite”分为三个部分---“Thinking of Home”（思乡），“The Flight”（飞翔）和“Home At Last”（落叶归根）。这是Mobley唯一对一部扩展组曲进行的尝试。其中能够体现的是，他并没有停止不前，更没有受到当时所谓“品味”的过分影响。从一节小调散板出发，在一流的小号演奏家Woody Shaw和Mobley本人的引领下，旋律迅速的跃入全力张现的比波普小节部分。当旋律被吉他演奏家Eddie Diehl转换为轻柔的Bossa Nova时，听者也被神移进入一种遐想，一种对家乡的追思。专辑在Mobley的情歌“Justine”、硬波普风格的“You Gotta Hit It”和“Talk About Gittin’ It”的音乐声中圆满的结束。无论是(Woody) Shaw、(Hank) Mobley、(Cedar) Walton，还是贝司手（Mickey）Bass，乐手已经不再是各自的演奏，所有的身心已经凝结一身，直追完美。 令人难以置信的是，Mobley大部分的优秀作品直道80年代才可以重建天日。“Thinking of Home”直到1980年才得以发行。“Soul Station”也被众多的乐评人列置被荒弃的唱片清单其中。在1980年发行的“Thinking of Home”唱片插页评论中，Todd Barkan写道：“Hank Mobley如今需要的是一把正当合适的萨克斯，那样他就不用再拼劲全力把自己的肺叶吹出来。”Mobley死于1986年，直到如今依然可悲的被爵士乐迷和评论家忽视。 WOODY SHAW,trumpet HANK MOBLEY,tenor saxophone EDDIE DIEHL,guitar CEDAR WALTON,piano MICKEY BASS,bass LEROY WILLIAMS,drums

小號手Kenny Dorham吹奏技巧不凡，但在當時幾位天才演奏家Clifford Brwon、Lee Morgan、Miles Davis及後來的Woody Shaw和Freddie Hubbard卻搶盡了鋒頭，使得Kenny一直不受樂評及市場重視，六○年代末更因身體不適而逐漸淡出樂壇。 此专辑是爵士小号手Kenny Dorham早期的一张五星大碟，首版时间离现在已经50年有零。除了典型的Bop和Hard Bop特征之外，该唱片也是Afro-Cuban这种融合乐风的开篇名著之一。1998年Blue Note的欧洲再版。 KENNY DORHAM,trumpet JAY JAY JOHNSON,trombone(1-5) HANK MOBLEY,tenor sax CECIL PAYNE,baritone sax HORACE SILVER,piano OSCAR PETTIFORD,bass(1-5) PERCY HEATH,bass(6-9) CARLOS "POTATO" VALDES,conga(1-5) ART BLAKEY,drums