View allAll Photos Tagged BlueNoteRecords
one of the (if not the) most important non-musicians in the modern jazz world. The diversity and number of sessions he engineered is staggering. I have hundreds of his albums.
Even in later interviews, when he was the last man standing so to speak he was always humble and accurate pointing out that he did not choose the musicians or songs but only controlled the sound(s) of the recordings. If there is a great jazz album that means something to you, chances are he was on it. R.I.P Rudy.
One of Blue Note Records' first album cover designers was Gil Mellé, a saxaphonist who also recorded under the label.
Image: Gil's cover design for "Gil Mellé Quintet/Sextet," Blue Note Records, 1953
-
Follow Design Facts on Twitter: twitter.com/DesignFacts
Freddie Hubbard, who died on Monday aged 70, was one of the finest and most influential jazz trumpeters of his age during a career that spanned half a century.
Although most at home in the genre of hard bop, in which he made his name in the 1960s, Hubbard was never afraid to experiment – he collaborated with, among others, Ornette Coleman, John Coltrane and Sonny Rollins – and in the 1970s he moved into rock-influenced fusion and later funk before finally returning to his roots. His playing was notable for its quicksilver exuberance and its fine range of tone and pace.
Frederick Dewayne Hubbard was born into a musical family at Indianapolis, Indiana, on April 7 1938. He played mellophone and then trumpet in his high school band before going on to study at the Arthur Jordan Conservatory, Indianapolis, with the principal trumpeter of the city's symphony orchestra. As a teenager he worked with Wes and Monk Montgomery, and eventually formed his first band, The Jazz Contemporaries, with the bassist Larry Ridley and saxophonist James Spaulding.
In 1958, aged 20, Hubbard made his way to New York City, where he was to play with many of the great names of contemporary jazz, among them Eric Dolphy, JJ Johnson, Thelonious Monk, Miles Davis and Cannonball Adderley, as well as Coleman, Rollins and Coltrane.
In his earliest recordings as a leader, such as Open Sesame (his debut album, recorded when he was 22), Goin' Up and the classic Ready for Freddie, he demonstrated his debt to Clifford Brown and Miles Davis. But within a few years he had developed his own distinctive style. For the Blue Note label in the 1960s he was to record eight albums as leader and a further 28 as a sideman.
"I used to try and play like Miles, and Miles caught me copying him one night at Birdland. He said, 'Hey man, why don't you play some of your own stuff?' So, I finally did, because I had copied all his solos," Hubbard said later.
In 1963 he began two productive years with Art Blakey's Jazz Messengers, later describing exhausting performances: "I used to try and play like Coltrane and solo for 30 or 40 choruses." From 1965 to 1967 he played with Max Roach. Throughout this decade, however, Hubbard had showed an interest in experimental projects. In 1961 he featured on Ornette Coleman's Free Jazz, and he also contributed to Oliver Nelson's brilliant album Blues and the Abstract Truth (which he said was his career favourite) and to John Coltrane's Ascension. After leaving Blakey, Hubbard released some fine albums of his own, having moved to the Atlantic label, and he also appeared as the trumpeter on several of Herbie Hancock's most famous Blue Note sessions, including Maiden Voyage and Empyrean Isles.
Although not always to the delight of the purists, Hubbard enjoyed further success in the 1970s with albums for Creed Taylor's crossover CTI label, such as the fusion album Red Clay and also First Light, which won a Grammy in 1972. He also recorded and performed with V.S.O.P., which included the members of Miles Davis' 1960s quintet – Hancock, Wayne Shorter, Ron Carter and Tony Williams.
The rigours of touring and Hubbard's uncompromising style of playing aggravated a split lip in 1992. "I started playing high notes and got carried away," he said afterwards. "High notes aren't my forte. I came back, went to Philly and played with some guys without warming up. That's when my top lip popped. Then I went to New York and played the Blue Note for a week. That's when I should have stopped cold." But he didn't; the lip became infected, and he had to cease working for a spell.
The injury came at a bad time, however – with both Miles Davis and Dizzy Gillespie dying in the early 1990s, the way was open for Hubbard to pick up the baton as the jazz world's leading trumpet man. He failed to do so and, criticised for both middle-market musical choices and for sometimes not turning up to gigs, his reputation began to suffer. When he returned to his instrument it was with a softer, more melodic approach, though he never truly recovered his former exuberance as a player.
Hubbard recognised that he had mixed with the "rock crowd" and admitted that "People looked at me and said, 'Is he doped up? Is he messed up on something?'" Above all, though, it was his technique that troubled him: "It's so frustrating not being able to blow the way I blew," he said.
But he continued to record and to perform, often on the less demanding flugelhorn, and while he lost some of his virtuoso finger speed, he never lost his full tone.
Collaborating with the trumpeter David Weiss and his New Jazz Composers Octet, Hubbard featured on the albums New Colors (2001) and On The Real Side, which came out last June.
Freddie Hubbard had suffered a heart attack on November 26. He is survived by his wife, Briggie, and a son.
www.telegraph.co.uk/news/obituaries/4031471/Freddie-Hubba...
Final Album Conceot Illustration for Terence Blanchard & E-Collective Album "Breathless".
Sitting With Andrew F Scott, Artist and Sculptor
I knew there was only one artist to create the cover “Breathless”; the sculptor, Andrew F. Scott. Of course, growing up with Andrew through our younger days in Brooklyn, and his being a friend since then, I’ve watched his art grow. The midnight talks we had back then, about making art that had meaning and integrity, still resonates. At one point, when I was struggling with how to explain to the record company the kind of image I would need to wrap together all the subtexts underlying the music, I visited Andrew’s Flickr account. And there it was. But now I’m getting ahead of myself.
Terence Blanchard
Multi-Grammy Award-winning trumpeter and film composer Terence Blanchard interviews Sculptor/Artist Andrew F. Scott about his artwork that graces the cover of "Breathless²
Interview was shot on location: New Orleans Museum of Art www.noma.org
The Blanchard Files Video Series
Part 1 - We've Been Talking About Doing This For A Real Long Time
Part 3 - Back When We Were In Brooklyn
Part 4 - Going Places Neither One Of Us Could Imagine
19 Jun 1964, Englewood Cliffs, New Jersey, USA --- Grant Green plays the guitar during the recording session of John Patton's album. --- Image by © Mosaic Images/CORBIS
BOSE OEはジャズを聴くには良いですが、そうでなければボコボコした低音が目立って嫌になりますね。私は試聴を重ねた結果、ジャズ専用に購入しました。
え？iPodが古い？ええ、第４世代iPodの20GBです。あのスティーブ・ジョブズがニューズウィークの表紙で手にしていたモデルですね。2004年当時、32,800円（$299）。まさにThis is iPod!な佇まいが好きで、いまでも愛用していますが、かれこれ10年近く前のモデルになるんですね・・・。一度、バッテリーを650mAhから750mAhに変更していますが、それ以外が全く故障もなく元気に動いております。ただ、ハードディスクはそろそろ突然死してもおかしくは無いかな。グレースケールなディスプレイと粗いドット文字が情緒あって特に好きです。イマジェニーク製の本革ケースはかなりの経年劣化が見られますが、良いカンジの味になっていて、これも気に入っています。
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Concept Illustration for Terence Blanchard & E-Collective Album "Breathless".
Sitting With Andrew F Scott, Artist and Sculptor
I knew there was only one artist to create the cover “Breathless”; the sculptor, Andrew F. Scott. Of course, growing up with Andrew through our younger days in Brooklyn, and his being a friend since then, I’ve watched his art grow. The midnight talks we had back then, about making art that had meaning and integrity, still resonates. At one point, when I was struggling with how to explain to the record company the kind of image I would need to wrap together all the subtexts underlying the music, I visited Andrew’s Flickr account. And there it was. But now I’m getting ahead of myself.
Terence Blanchard
Multi-Grammy Award-winning trumpeter and film composer Terence Blanchard interviews Sculptor/Artist Andrew F. Scott about his artwork that graces the cover of "Breathless²
Interview was shot on location: New Orleans Museum of Art www.noma.org
The Blanchard Files Video Series
Part 1 - We've Been Talking About Doing This For A Real Long Time
Part 3 - Back When We Were In Brooklyn
Part 4 - Going Places Neither One Of Us Could Imagine
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
L to R: Takeshi Ohbayashi, Takuya Kuroda, Rashaan Carter, Adam Jackson, Keita Ogawa, and Corey King take a bow at Asia Society New York on March 8, 2014. (Elena Olivo/Asia Society)
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
I've been reading the book at top left & using the others as visual resource material (plus others) to accompany me on the journey...
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
Album No6 again accompanied by Stanley Turrentine on Tenor Sax and this time Quentin Warren on Guitar. Bailey still on Drums.
At least four classic tracks here that include 'When the saint's', normally chosen by Trad jazz bands. But Jimmy spends 6.10 minutes proving everyone wrong.
Another American Pressing.
Born and raised in Houston, Texas Laws is the fifth of eight children. He started playing the saxophone at the age of 11.
He attended Stephen F. Austin State University in Nacogdoches, Texas, for two years. In 1972, Laws joined the fledgling group Earth, Wind & Fire, playing saxophone and flute on their album Last Days and Time. He left the band soon afterwards, long before they achieved their commercial success.
During 1975 Laws issued his debut album Pressure Sensitive on Blue Note Records. The album reached No. 25 on the Billboard Top Soul Albums chart. In 1976, Laws went on to release his second LP Fever. The album reached No. 13 on the Billboard Top Soul LPs chart.
Ronnie Laws – Fever
Label: #BlueNoteRecords – BN-LA628-G, At Home Productions – BN-LA628-G
Format: Vinyl, LP, Album
Country: US
Released: #1976
Genre: Jazz, Funk / Soul
Style: Smooth Jazz, Jazz-Funk, Funk
•
•
Tracklist •
•
A1 Let's Keep It Together
A2 Fever
A3 All The Time
A4 Stay Still (And Let Me Love You)
B1 Strugglin'
B2 Captain Midnite
B3 Karmen
B4 Night Breeze
B5 From Ronnie With Love
•
•
Credits
•
•
Arranged By [String Arrangements] – Dale Frank
Backing Vocals – Augie Johnson
Bass – #WiltonFelder (tracks: A3, B1, B4)
Cello – Jesse Ehrliect, Nathan Gershman, Raymond J. Kelley, Victor Sazer
Congas – Tony Ben (tracks: A3, B1, B4)
Drums – Bruce Carter (tracks: A1, A2, A4, B2, B3, B5), Steve Guiterrez (tracks: A3, B1, B4)
Electric Bass – Nathaniel Phillips (tracks: A1, A2, A4, B2, B3, B5)
Electric Piano, Clavinet, Synthesizer [Arp] – Donald Hepburn (tracks: A1, A2, A4, B2, B3, B5), Michael Hepburn (tracks: A1, A2, A4, B2, B3, B5)
Electric Piano, Clavinet, Synthesizer [String Ensemble] – #BobbyLyle (tracks: A3, B1, B4)
Guitar – Marlon The Magician (tracks: A1, A2, A4, B2, B3, B5)
Percussion – Bruce Smith (tracks: A1, A2, A4, B2, B3, B5)
Tenor Saxophone, Soprano Saxophone, Flute – #RonnieLaws (tracks: A1, A2, A4, B2, B3, B5)
Violin – Bonnie Douglas, Carroll Stephens, Elliott Fisher, Felix Sitjar, Gordon Marron, Henry Ferber, James Getzoff, Joy Lyle, Murray Adler, Paul C. Shure, Ronald Folsom, William Kurasch
#instarecords #instavinyl #vinylrecords #jazzfusion #recordoftheday
This Metal coated sign has a diameter from circa 70cm. It says - Authorisized
Depot Dealer - Blue Note. I love this. It is shown now in my flat.
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery, or otherwise please email
info@shutter16.com for information on obtaining use.
Photographer: Alex Cason
No8 and the final album?
With Percy France on Tenor Sax,Kenny Burrell Guitar and Bailey on Drums this is an amazing album switching from blues to really up tempo stuff that will make your foot ache from its tapping?
Black Man Grove: Breathless Edition
Sealed Giclee Inks on Archival Paper
4' x 5' x 5'
Sitting With Andrew F Scott, Artist and Sculptor
I knew there was only one artist to create the cover “Breathless”; the sculptor, Andrew F. Scott. Of course, growing up with Andrew through our younger days in Brooklyn, and his being a friend since then, I’ve watched his art grow. The midnight talks we had back then, about making art that had meaning and integrity, still resonates. At one point, when I was struggling with how to explain to the record company the kind of image I would need to wrap together all the subtexts underlying the music, I visited Andrew’s Flickr account. And there it was. But now I’m getting ahead of myself.
Terence Blanchard
Multi-Grammy Award-winning trumpeter and film composer Terence Blanchard interviews Sculptor/Artist Andrew F. Scott about his artwork that graces the cover of "Breathless²
Interview was shot on location: New Orleans Museum of Art www.noma.org
The Blanchard Files Video Series
Part 1 - We've Been Talking About Doing This For A Real Long Time
Part 3 - Back When We Were In Brooklyn
Part 4 - Going Places Neither One Of Us Could Imagine