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Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes

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CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey. A partir de ese momento, el sello se convertiría en adalid de los nuevos valores del jazz que, como Miles Davis, J.J.Johnson, Bud Powell, Clifford Brown, Sonny Rollins o Fats Navarro, registraron para él sesiones memorables en la frontera o inicios de los 50. La pieza final del gran puzzle de Blue Note la puso Rudy Van Gelder, un ingeniero visionario e innovador que literalmente creó un nuevo sonido, característico e inconfundible, que siempre permanecerá asociado a la identidad de la compañía, el conocido como Blue Note Sound. Durante toda la década de los 50 y buena parte de la siguiente, Blue Note documentó una parte muy importante del jazz del momento, y fundamentalmente del conocido com hard bop, el estilo duro y enraizado de la costa este. Su catálogo creció exponencialmente con aportaciones de jóvenes talentos como Hank Mobley, Jackie McLean, Donald Byrd, Grant Green, Kenny Burrell, Kenny Dorham, Sonny Clark, Herbie Nichols, Lee Morgan, Jimmy Smith o Lou Donaldson. John Coltrane sólo grabaría un disco como líder para Blue Note, pero se convertiría en todo un éxito histórico: Blue Train. Algo similar sucedería con Somethin' Else, de Cannonball Adderley, con la presencia invitada de un viejo conocido de sello, Miles Davis. Los inicios de los 60 siguieron deparando éxitos para la compañía: Dexter Gordon inició entonces su clásica serie de grabaciones para Blue Note, y muy pronto la vena innovadora -atenta a los crecientes cambios del jazz en ese momento- de jóvenes como Wayne Shorter, Herbie Hancock, Andrew Hill, Freddie Hubbard, Bobby Hutcherson o Joe Henderson mantuvieron al sello en la cresta de la ola. Tampoco Blue Note miró para otro lado con la irrupción del free jazz, y sus estudios albergaron momentos muy significativos de éste en los 60, con grabaciones históricas de Ornette Coleman, Cecil Taylor, Don Cherry, Sam Rivers o Gracham Moncur III. Pero a mediados de la década, con el jazz retrocediendo día a día en popularidad ante el empuje del rock, el soul o el funk, Blue Note afrontó serios problemas. En 1965 la compañía fue vendida a Liberty Records, y dos años después Alfred Lion se jubiló, más o menos al mismo tiempo que Reid Miles. George Butler asumió las riendas y Blue Note dió un pequeño giro hacia producciones en una onda más comercial. La época dorada del sello había concluído. La reactivación comenzó en 1979, cuando el giagnte EMI compró United Artists, la compañía que poseía Liberty. EMI accedió entonces a todo el extraordinario catálogo de Blue Note, que comenzó a reexplotar. Tanto veteranos del sello como McCoy Tyner, Joe Henderson o Freddie Hubbard como nuevos valores del jazz en los 80 como Joe Lovano, Greg Osby o John Scofield comenzaron a grabar ahora bajo la dirección de Bruce Lundvall, y Blue Note volvió de nuevo a la primera línea. Michael Cuscuna ha supervisado buena parte de las reediciones del catálogo clásico, que no ha dejado de venderse muy bien. En 2006 se creó el Blue Note Labe Group, un conglomerado que agrupa a distintos pequeños sellos. Y en enero de 2012 Don Was tomó el relevo de Lundvall. A día de hoy Blue Note continúa siendo un sello de referencia, aunando su formidable legado con nuevas producciones de artistas jóvenes con proyección de futuro. Artista Título Soporte Referencia País Edición Grabación Observaciones Andrew Hill Grass Roots LP Blue Note BST 84303 USA 1968 1968 Andrew Hill Black Fire CD Blue Note 96502 UE 2003 1964 Andrew Hill Andrew!!! CD Blue Note 11438 UE 2005 1964 Andrew Hill Passing Ships CD Blue Note 9387 USA 2003 1969 Andrew Hill Point Of Departure LP Blue Note BST 84167 Francia 1983 1964 Andrew Hill Compulsion CD Blue Note 74230 USA 2006 1965 Andrew Hill Lift Every Voice CD Blue Note 7243 5 UE 2001 1969 27546 2 5 Andrew Hill Dance With Death CD Blue Note 66741 UE 2004 1968 Andrew Hill Judgment! CD Blue Note 63842 2005 1964 Andrew Hill Smoke Stack CD Blue Note 55204 UE 2006 1963 Andrew Hill Grass Roots CD Blue Note 22672 UE 2000 1968 Anthony Williams Spring LP Blue Note 84216 USA 1965 1965 Art Blakey Drums Around The Corner CD Blue Note 7243 5 USA 1999 1958-59 21455 2 2 Art Blakey And The Jazz Free For All CD Blue Note CDP UE 1987 1964 Messengers 784170 2 Art Blakey And The Jazz A Night In Tunisia CD Blue Note CDP UE 1987 1960 Messengers 746532 2 3 Art Blakey And The Jazz Like Someone In Love CD Blue Note 7243 8 UE 2005 1960 Messengers 75337 2 1 Art Blakey And The Jazz The Freedom Rider CD Blue Note 7243 8 UE 1998 1961 Messengers 21287 2 4 Art Blakey And The Jazz Indestructible CD Blue Note 7243 5 USA 2003 1964 Messengers 91720 2 6 Art Blakey And The Jazz Buhaina's Delight CD Blue Note 7243 5 2004 1961 Messengers 78725 2 2 Art Blakey And The Jazz The Big Beat CD Blue Note 7243 5 UE 2005 1960 Messengers 63801 2 7 Art Blakey And The Jazz Meet You At The Jazz Corner Of CD Blue Note 7243 5 UE 2002 1960 2 CD's Messengers The World 35565 2 5 Art Blakey And The Jazz The Jazz Messengers At The Café CD Blue Note 7243 5 UE 2001 1955 Messengers Bohemia Volume 2 32149 2 0 Art Blakey And The Jazz The Jazz Messengers At The Café CD Blue Note 7243 5 UE 2001 1955 Messengers Bohemia Volume 1 32148 2 1 Art Blakey And The Jazz The Witch Doctor CD Blue Note 7243 5 UE 1999 1961 Messengers 21957 2 5 Art Blakey And The Jazz Africaine CD Blue Note 7243 4 USA 1998 1959 Blue Note Connoisseur Series Messengers 97507 2 2 Art Blakey And The Jazz Moanin' CD Blue Note 7243 4 UE 1999 1958 Artista Título Soporte Referencia País Edición Grabación Observaciones Messengers 95324 2 7 Art Blakey And The Jazz Mosaic CD Blue Note 0946 3 UE 2006 1960 Messengers 55497 2 0 Art Blakey And The Jazz Three Blind Mice, Vols. 1 & 2 CD-R Blue Note 1990 1961 CD-R que incluye los 2 volúmenes de Messengers la edición original Art Blakey And The Jazz At The Jazz Corner Of The World CD-R Blue Note 1959 1959 CD-R que incluye los 2 volúmenes de Messengers la edición original Art Blakey Quintet A Night At Birdland Volume Two CD Blue Note 7243 5 UE 2001 1954 32147 2 2 Art Blakey Quintet A Night At Birdland Volume One CD Blue Note 7243 5 USA 2001 1954 32146 2 3 Art Farmer Modern Art CD Blue Note CDP 7 USA 1991 1958 84459 2 Art Farmer Jubilation LP Blue Note BNP Francia 1983 1958 25.108 Art Pepper The Return Of Art Pepper CD Blue Note CDP 7 USA 1988 1956-57 46863 2 Art Pepper The Complete Art Pepper Aladdin CD Blue Note CDP 7 USA 1988 1957 Recordings-Volume Three 46853 2 Art Pepper Modern Art CD Blue Note CDP 7 USA 1988 1956-57 46848 2 Art Taylor A.T.'s Delight CD Blue Note 74237 USA 2007 1960 Baby Face Willette Face to Face CD Blue Note 93180 USA 2007 1961 Ben Webster The Holland Sessions Cd 1-2 CD Blue Note 7243 8 UE 1997 1969-73 Doble CD 57371 2 1 Bennie Green Walkin' And Talkin' CD Blue Note 4010 Japón ? 1993 ? 1959 Bennie Green Soul Stirrin' CD Blue Note CDP USA 2007 1959 724308059381 2 2 Bennie Green Back On The Scene CD Blue Note 1958 Benny Golson Benny Golson And The CD Blue Note 94104 UE 1998 1958 Philadelphians Benny Green These Are Soulful Days CD Blue Note USA 1999 1999 Ejemplar promocional Big John Patton Along Came John CD Blue Note BLP4130 Japón ? 1994 ? 1963 Big John Patton Blue John CD Blue Note 84143 USA 1989 1963 Big John Patton The Way I Feel CD Blue Note 4174 Japón ? 1994 1964 Big John Patton That Certain Feeling CD Blue Note BST 84281 Japón 2014 1968 Big John Patton Understanding CD Blue Note 1968 1968 Bill Stewart Telepathy CD Blue Note 7243 8 USA 1997 1997 53210 2 3 Blue Mitchell The Thing To Do CD Blue Note Records UE 2004 1964 RVG Edition 7243 5 94320 2 1 Blue Mitchell Boss Horn CD Blue Note Records UE 2005 1966 RVG Edition 7243 5 63814 2 1 Blue Mitchell Down With It! CD Blue Note Records UE 2005 1965 RVG Edition 0946 3 11493 2 0 Blue Mitchell Bring It Home To Me CD Blue Note BLP 4228 USA 1966 Blue Mitchell Down With It! CD Blue Note 7243 8 UE 1997 1965 54327 2 9 Blue Mitchell The Thing To Do LP Blue Note BST 84178
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  • Lee Morgan Chronology 1956–1972 by Jeffery S

    Lee Morgan Chronology 1956–1972 by Jeffery S

    Delightfulee Jeffrey S. McMillan University of Michigan Press Lee Morgan Chronology 1956–1972 By Jeffery S. McMillan This is an annotated listing of all known Lee Morgan performances and all recordings (studio, live performances, broadcasts, telecasts, and interviews). The titles of studio recordings are given in bold and preceded by the name of the session leader. Recordings that appear to be lost are prefaced with a single asterisk in parentheses: (*). Recordings that have been commercially issued have two asterisks: **. Recordings that exist on tape but have never been commercially released have two asterisks in parentheses: (**). Any video footage known to survive is prefaced with three asterisks: ***. Video footage that was recorded but appears to now be lost is prefaced with three asterisks in parentheses: (***). On numerous occasions at Slugs’ Saloon in Manhattan, recording devices were set up on the stage and recorded Morgan’s performances without objection from the trumpeter. So far, none of these recordings have come to light. The information herein is a collation of data from newspapers, periodicals, published and personal interviews, discographies, programs, pamphlets, and other chronologies of other artists. Morgan’s performances were rarely advertised in most mainstream papers, so I drew valuable information primarily from African-American newspapers and jazz periodicals, which regularly carried ads for nightclubs and concerts. Entertainment and nightlife columnists in the black press, such as “Woody” McBride, Masco Young, Roland Marsh, Jesse Walker, Art Peters, and Del Shields, provided critical information, often verifying the personnel of an engagement or whether an advertised appearance occurred or was cancelled. Newspapers that I used include the Baltimore Afro-American (BAA), Cleveland Call & Post (C&P), Chicago Defender (CD), New Jersey Afro-American (NJAA), New York Amsterdam News (NYAN), Philadelphia Tribune (PT), and Pittsburgh Courier (PC).