To commemorate the 85th anniversary of the founding of the prestigious jazz label Blue Note, a carefully selected selection of classic albums from the past have been released domestically in “SACD single-layer format.” Mastering was done by Kevin Gray, a renowned engineer today. Blue Note is also famous for having had its original recordings and mastering done by Rudy Van Gelder. The “Van Gelder sound” features vivid, realistic horn instruments’ sounds supported by thick bass tones. On the other hand, Kevin Gray’s mastering approach is slightly different and, in a word, very natural. His mastering recreates modern, well-balanced sounds without overemphasizing the bass tones. Those familiar with past Blue Note recordings may say, “This is not the Blue Note sound,” but Kevin insists, “This is the true sound captured on the original master tapes.” It has been 60 years since these pieces of music were initially recorded, and Kevin’s new mastering is intriguing also from an audio standpoint. I would like to enjoy the essence of today’s mastering on high-quality SACD.
#274 Masterpiece that Shows Maturity of Ornette’s Aesthetics
At the Golden Circle, Vol. 1 by Ornette Coleman
(Blue Note ⇒ Universal Music UCGQ-9077)
This live album from 1965 defined the fame of alto saxophonist Ornette Coleman, who revolutionized the jazz world in the 1960s and influenced many other players. Ornette significantly impacted the jazz scene as a free jazz fighter, but his free playing without regard for harmony was controversial, and many different opinions were exchanged. Although he performed in clubs and made recordings, many people rejected his music, and Ornette disappeared from the music world for a time. After a two-year hiatus, he returned and led his trio on an extensive European tour. The tracks on this album were selected from the last two days of their performance at the “Golden Circle” in Stockholm in late November.
The simple composition of saxophone, bass, and drums allowed Ornette’s “free” yet singing personality to stand out. The blues background of Texas-born Ornette is abstracted and comes across with abstract brilliance. After listening to this album, even those who “dislike free jazz” would be forced to agree with the dazzling brilliance of this music. This masterpiece album shows the maturity of Ornette’s aesthetics, including ＜Faces And Places＞ with bold melodic lines and humorous ＜European Echoes.＞
#275 Wayne Shorter’s Memorable Blue Note Debut Album
Night Dreamer / Wayne Shorter
(Blue Note ⇒ Universal Music UCGQ-9080)
This is the memorable first album recorded for Blue Note in April 1964 by Wayne Shorter, one of the best jazz tenor sax players of all time. Wayne, who played an essential role as a member of the Jazz Messengers, left the Messengers and joined the Miles Davis Quintet six months after this recording. Recorded during such a transitional period, “Night Dreamer” is a mixture of modal jazz and Shorter’s mysterious personality, producing new sounds that had never been heard in hard bop up to that point. The tracklist contains Wayne’s unique and fascinating originals, including the title number and the mysterious ballad ＜Virgo.＞ The most significant fact about this album is that Wayne’s original personality as a soloist is strongly expressed in his tone and phrasing. McCoy Tyner, a member of the John Coltrane Quartet at the time, creates innovative harmonies. It is also worth noting how Elvin Jones’ wild drumming brings excitement and thrills.
#276 Masterwork by Grant Green with Intoxicating Bluesy Charm
I Want to Hold Your Hand / Grant Green
(Blue Note ⇒ Universal Music UCGQ-9086)
The Beatles’ familiar song ＜I Want to Hold Your Hand＞ is performed over a light bossa nova beat. Grant Green performs a bluesy rendition of the smash hit that had shot to the top of the charts the previous year (1964), making The Beatles’ name known worldwide. Grant plays the melody like a horn player, almost without playing chords. For the other tracks, Grant’s groovy performance is also in full swing, including the fast-paced ＜Speak Low.＞ Hank Mobley, who plays the tenor saxophone, also has good melodic taste. Instead of having a bass player, organist Larry Young uses the pedals to produce the bass rhythm, which is one of the audio highlights.
About the Author
Masamichi Okazaki
Surrounded by various kinds of music from his childhood, Masamichi Okazaki joined Waseda University Modern Jazz Club. He started contributing articles to music magazines when he was a student. He covers wide range of music not only trad, modern and contemporary jazz, but also from pops to classics. He writes liner notes for CDs and LPs, and is a regular contributor to “JAZZ JAPAN,” “STEREO,” and others. He joined a big band, “Shiny Stockings,” as a saxophone player. He is a director of The Music Pen Club Japan (MPCJ).
