Kenny Drew's Undercurrent, Blue Note 4059, the Last Deep Groove: So How is the Music?

Pianist Kenny Drew's second and final Blue Note session as a Leader turns out to be perhaps more famous to jazz record collectors for being the last original deep groove Blue Note pressing.

What gets lost in the shuffle sometimes is what a fantastic record it is, seems an awful lot of the time the music takes a back-seat to the collecting minutia in Blue Note collecting circles.

As a collector myself, I get a little irritated when the focus strays so far away from the actual music. Recorded in December of 1960, and released in 1961, Undercurrent is a typical hard bop date for the label with a handful of swinging cookers, a ballad, and a blues.

However: Undercurrent is no ordinary record, you have the ballsy trumpet of Freddie Hubbard, and the sweet lyricism of tenor man Hank Mobley matching whits throughout. Both create some of finest unison playing you will hear on Blue Note.

Of course Kenny Drew's piano is delightful, and is out front in the mix, thanks to a very good Rudy Van Gelder engineered recording. The CD remaster I am listing to as I write does sound sweet, doesn't sound inferior to many vinyl copies I have heard over the years; a very crisp and clean sound, with perfect balance.

Boy do I like Mobley on "Groovin the Blues", sounds like something you could have heard on Mobley's masterpiece Soul Station, save Hubbard's trumpet of course, that being a quartet recording like it is.  Drew also plays some of the tastiest blues n bop runs you'll hear.

"Ballade" is a lovely romantic Drew composition, again Hubbard's horn and Mobley's tenor pair up for a wonderful set of down tempo verses.  Then Drew takes over with a nice melancholy ride with the brushes of Louie Hayes and the light walking bass of Sam Jones.

Then Hubbard and Mobley playfully trade off a little, then an abrupt end that leaves you wanting more, a fantastic ballad all the way around.

The title track is aptly titled, as the piano and drums create a nice little bubbling under the surface "Undercurrent" if you will, the horns spar over top this quick Blakey styled tune. Freddie Hubbard really reminds me Clifford Brown here, perhaps the mood and quick pace causes this.

Also, Mobley never seems to run out of ideas, his playing is strong, it's actually a little more bombastic than normal. Probably not easy to keep up with Freddie Hubbard, but Hank does a great job here.

I used to think Mobley was overrated, albums like this and his own Soul Station won me over fairly quickly, I always wondered why he never fit well in Miles Davis Band after Coltrane left? It's one of the biggest mysteries to me?

I think overall Undercurrent is one of the real great Blue Notes, and belongs in every jazz collection. A fairly hard vinyl record to find, even vintage reissues, if you must have a vinyl copy you might check out the 45 rpm Music Matters reissues, I hear the stereo sound on these is stellar.

The First 5 Blue Note Jazz Records You Should Add to Your Collection

If you're new to jazz, but are reading this post, it's very likely that you've already had your first experience with jazz.

Perhaps like me, your preconceived notions about the music were wrong?

I didn't understand the scope of styles, dozens of sub-genres within jazz to discover, some better than others of course.

Everyone has their own tastes. Blue Note jazz of the 50's and 60's is the epicenter of instrumental jazz, so you'll need to investigate

 So many classic records on all labels, but Blue Note is the one label I couldn't live with out. Outside perhaps Miles Davis and his Columbia output, you won't find better small group jazz than on Blue Note.

Below I have chosen my 5 favorite from the label that fit into the traditional hard-bop style. The avant-garde/post bop style is also a passion of mine, but if you're just getting into jazz I think these 5 below are the best choices.

You won't stop at this five I am sure, so you can find many more classic in this blog, and a great articles with 25 albums that should be in every jazz collection.

Art Blakey: Moanin' - Blue Note 4003 

Blue Note 4003 recorded in 1958 may be the greatest jazz record of all time, hyperbole? Well, perhaps, but it is a darned good album.

Dominated by the great tenor saxophonist/composer Benny Golson, who wrote 4 of the tunes on the album.

"Along Came Betty", "Are You Real", "The Drum Thunder Suit", and "Blues March", were all written by Golson, they are all standards today.

Pianist Bobby Timmons'  contributes the best known standard here "Moanin", a jubilant blues call-and-response anthem that embodies the Blue Note Sound. Perhaps only John Coltrane's title track for his lone Blue Note Blue Train comes close?

John Coltrane: Blue Train - Blue Note 1577

John Coltrane's 1957 masterpiece was his only one recorded for Blue Note records, it's a classic. You'll hear Coltrane, trumpeter Lee Morgan, and trombonist Curtis Fuller as seriously kick-ass front line of horn players.

They do not hold back, the title track is one rapid-fire blowing session style solo after another. The title track, Locomotion, and "Lazy Bird" are also fine hard-bop pieces.

Dexter Gordon: One Flight Up - Blue Note 4176

One Flight Up is my personal favorite Dexter Gordon album, and the album's centerpiece is the Donald Byrd composition "Tanya".

 "Tanya" is breathtaking in how effective it is, for 17 minutes Gordon and Byrd both play some fantastic solos, with an easy strutting blues that sounds like Blue Note.

 The ballad "Darn that Dream" proves as well as any other tune, that Dex was the best ballad player of all the tenor men.

Herbie Hancock: Maiden Voyage - Blue Note 4195

Maiden Voyage from 1964 is little more advanced musically than the previous hard-bop albums highlighted here. More subtlety, and many different textures than on the typical hard-bop Blue Note date.

The title track, "Dolphin Dance", and "Eye of the Hurricane" are classics that push the hard-bop style ahead. I promise you, if you're new to jazz, and haven't ventured to far outside of safer styles, Maiden Voyage is a great start.

Lee Morgan: Vol: 3 - Blue Note 1557

Lee Morgan's Vol 3 is an underrated classic that doesn't get much pub.

Volume 3's claim to fame is that it's yet another classic example of Benny Golson's greatness.  He composes all 5 tunes on this wonderful album.

My favorite tune is "Hasaan's Dream" the Middle Eastern vibe is irresistible. I like this version of Golson's standard "I Remenber Clifford" too, Volume 3 is one of the better Blue Notes, and one of the most expensive to get as an original first press vinyl copy.

A Night At Birdland Vol 1 - Jazz Corner of the World With Art Blakey.

Look at the names on that cover: Art Blakey on drums, Clifford Brown on trumpet, Lou Donaldson on Alto, Horace Silver on piano, and Curly Russell on Bass.

Blue Note 1521 is a stone classic, one the real masterpieces of hard-bop. recorded in 1954, this music still has the transitory style, sort of one foot in be-bop, and perhaps not quite full blow hard-bop?

Personally I love this style, Joe Lovano has an album from the year 2000 that reminds of this style, 52nd Street Themes.

Again the highlight on this and many other Blakey albums is the Dizzy Gillespie standard "A Night in Tunisia". This time the track is taken at straight ahead bop pace, no explosive drum pyrotechnics, but it is Blakey of course. Some very Parker-like  Lou Donaldson alto work stands out.  Of course the stellar trumpet work of Clifford Brown who would be killed in a car accident just 2 years later at the age 26, shines very brightly on this incredible record.

The early Blue Note sound, and practically every variation of it to follow, seemed to follow the lead of drummer Blakey and Perhaps pianist Silver with his own bands?

The 50's and 60's style that ruled the label for so long undeniably has Blakey's imprint. Only fusion and the avant-garde could remotely wrestle that influence away in the late 60's under Lion's ownership. I suspect this has a lot to do with the Blue Note label owner Alfred Lion being a fan of music that swings, and nobody swung harder than Blakey. After Lion sold the label to Liberty all bets were off, and soul-funk fusion was the main vibe on Blue Note.

Quintessential Hard-Bop Tracks on Vol 1:

Horace Silver's "Quicksilver" is my favorite from Vol. 1. Such a fine example of 50's hard bop. Man this thing charges out the gate as the name implies. Cookin' is the word, and this thing oozes that late 40's manic bop sound.

Donaldson and Brown rip it up over the top of the comping piano and pulsating bass, with Blakey propelling the music to explosive heights.

 Brown, still today, 60 years after his death is considered one of the best ever, and he proves it here. Lee Morgan and Freddie Hubbard were direct descendants to Brown.

Another Silver vehicle is the lead off track "Split Kick" which also has the classic introduction of the band by disc jockey Symphony Sid.

Another one of these classic bop/hard-bop hybrids, I wish I could sit right down in that audience I know that.

You can get access to this music a few ways: 

1. Brownie Speaks: The Blue Note Albums
2. A Night at Birdland Volume 1

Check out the Lead off track below from Vol.1: Also Vol. 2 shouldn't be missed with a killer performance of Parker's "Confirmation" .

 

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Art Blakey and the Jazz Messengers A Night in Tunisia: Another Powerful Blue Note Kick in the Teeth

Recorded and Released in 1960, A Night in Tunisia on Blue Note Records is one of those ass-kicking albums in the Blakey discography that should be in every music collection.

The title track, a cover of Gillespie's "A Night in Tunisia," which features some of the most raucous drum playing you're likely to hear,  and some very good in-the-pocket bass playing from Jymie Merritt.

The title track is best known for its balls-to-the-wall everybody gets some time approach. Wayne Shorter on Tenor, and Lee Morgan on trumpet go bananas, with art egging them on every step of the way.

Blakey is schooling his young players, and they as you might expect, deliver the goods. Damn I wish I could go back in time and see these groups perform live. The secret of these records, why they are so good, they all sound like a live recording, they are full of fiery youthfulness. Like Blakey's Free For All from 1966, the recording equipment almost can't handle the power, Charles Mingus and the early to mid-60's Coltrane quartet is this way too.

I love the unaccompanied solos from Morgan and Shorter, with Art vocally urging them on, it's irresistible. The track is one of those from jazz that made me realize that jazz was not exactly the sterile music of grandpa.

I love Blakey's drumming on these classic Blue Notes, subtle he is not! Heck, that's only the first track, and admittedly the rest of the album is a minor let down compared to the power of the first track, but believe me, the rest is still high-quality hard-bop. Also the 1958 RCA recording of the same name is worth checking out too, alt saxophonist Jackie McLean is in support on that one, and the title track kicks it.

The other tracks:

Wayne Shorter's "Sincerely Diana" charges out of the gate and is typical of the Wayne Shorter sound, reminds me of  something from one of his own Blue Note albums. I love the groove on this track. Morgan again shows why he was one of the best.

 Bobby Timmons' "So Tired" is a nice little funky soulful track, that reminds me of Horace Silver to tell you the truth. Nice theme here. Shorter digs in nicely, he doesn't sound like Coltrane at all here, I never thought he sounded that much like Coltrane anyway, ever.

As Morgan solos on the track I am left digging the bass of Jymie Merritt, what an underrated player. I like the steady pulse underneath the solos. Then he comes out of it walking again, solid!

Lee Morgans "Yama" offers a a retreat from the powerful previous compositions. A soulful blues that soothes the soul. Very tasteful piano from Timmons, and the soft strut of Merritt's bass lead us to Morgan and Shorter's turns, and they turn the heat up a bit. Nice break from the power for sure. I love Shorter on this track, he doesn't offer a cliche at all, the mysterious sound he plays with is perfect, and a bit surprising, I wonder how he was initially taken as a soloist by the general public back then, he's not cliche at all.

Morgan's "Kozo's Waltz rounds out the session. Boy Morgan and Shorter are tight as twins right here, I wonder how many takes this took? This music is from 1960, Shorter seems to be in total control of his tone and phrasing, he sounds like Wayne Shorter all the way.

 I don't hear Coltrane at all in Wayne's playing. People outside of us jazz nuts don't know anything about how great Shorter was and still past 80 years of age. 55 years ago his sound is fully developed,  had he never went on to be the composing spirit of the Davis Second quintet, his legacy was already cemented by these and his own Blue Notes.

Truthfully I always felt Weather Report hurt Wayne's legacy, after the first few albums it felt like Joe Zawinul's game.  I wish Wayne would have had his own fusion band where he was the dominate force. Outside of Native Dancer, which is OK, we never got that. Anyway, A Night in Tunisia on Blue Note is a must have in every serious jazz collection.

Inside Outside Jazz with Grachan Moncur III: Evolution on Blue Note Records

Guess what? The late Tony Williams (1945-1997)  is the drummer on this modern jazz classic, Grachan Moncur's debut on Blue Note. What a groundbreaking album Evolution is.

During the mid 60's what record wasn't he on? Tony was 17 years old at the time of the recording which was completed 3 and 1/2 weeks shy of his 18th birthday!

He was also on Moncur's other Blue Note album recorded and released after Evolution, Some Other Stuff.

Then you have Jackie McLean (1931-2006), still one of the most underrated alto-men in jazz history years after his death. I don't think I have ever heard an album from Jackie where it didn't sound like his life depended on it?

Then you have one of the greatest jazz trumpeters of all-time Lee Morgan (1938-1972), you know you'll have a pretty damned good album potentially. Vibraphonist  Bobby Hutcherson does here, what he did on Eric Dolphy's Out to Lunch, offering a very effective color for the composer Moncur's pallet. I feel like somethings missing when the vibes aren't there with these chamber jazz records.

Then the leader trombonist Grachan Moncur III brings his very forward thinking compositions to be interpreted... and his very effective trombone playing.

"Air Raid" comes out of the gate on a plaintiff melancholy note, only to speed up a swing fairly violently, but gets back to the painful blues of the opening. McLean really eats that up too, his piss and vinegar tone works so well on these inside outside sessions, McLean doesn't sound much like Charlie Parker here that's for sure.

"Evolution" the title track, is some serious chamber jazz stuff. Not much swing here, perhaps it swings in a disjointed way? over 10 minutes of ebbs and flows with odd colors.

"The Coaster" has a very conventional hard-bop theme and swing. Moncur offers some very nice trombone work as well on the track. Hutcherson again colors well in the back ground then solos nicely. McLean also has a wonderful conventional solo. This track fits right in with the all-time hard bop classics of Blue Note easily, love the modal bass groove. 10 minutes well spent.

"Monk in Wonderland" is an aptly titled piece, that does sound like Thelonious Monk, accept the piano roll is given to the vibes of Hutcherson of course as it is on the entire album. McLean again shines bright with more tasty solos. Moncur is really quite underrated as a soloist.  I don't read his name on too many all-time lists.

All in all, Evolution is a fine inside outside jazz session. Outside of the title track, it's actually pretty inside to tell you the truth, let the title track grow on you. You can always consider it a rough spot on the journey, but as a whole I really like the album.

This pictured vinyl copy of Evolution was a late 70's Liberty white b label that still set me back nearly 50 bucks, I have seen it as high as 100 dollars on eBay. Originals can fetch several hundred dollars.

Maiden Voyage: Herbie Hancock's Mid 60's Masterpiece

Maiden Voyage, and album recorded in March of 1965, and released in 1966, was released on the independent jazz record label Blue Note.

 Pianist Hancock's Maiden Voyage is one the greatest albums ever recorded in jazz, and certainly one of the classics from Blue Note label in the 1960's.

At this time, Hancock was on a roll, he was the pianist in the second great quintet of Miles Davis, and was quite simply carving out a niche for himself as one of the great jazz artists of the 20th century.

The title track was originally made for a Faberge' commercial,  but was re-purposed for the album.  Freddie Hubbard on trumpet, and the Underrated George Coleman on tenor saxophone dig into these modal compositions quite well, they offer some very interesting interplay, and seem to understand what Hancock is after here. Perhaps a oceanic mood, sailing ships etc... what you might encounter on a voyage,  high waves, hurricanes, and dolphin's dancing?

Drummer Tony Williams and bassist Ron Carter offer the typical fine support you would expect. When you take the Davis quintet albums Hancock participated in, along with the music Herbie was making during the mid 60's while he was in his mid 20's, it is astounding!

 Drummer Williams was only 19 at the time of this recording by the way, incredible the classic albums he was the drummer on, Out to Lunch from Eric Dolphy, and Point of Departure from Andrew Hill to name a few, all before the age of 20.

If you ever wondered if trumpeter Freddie Hubbard was over hyped, Maiden Voyage is an album that should dispel that myth. His solo on the title track is pretty darned good, his notes ring true, I still don't understand how he doesn't lose his balance at the 3:50 mark (see above)?

The title track, "Dolphin Dance", and "The Eye of the Hurricane" by every sense of the word are jazz standards. Personally I think the album strikes the perfect balance between the hard-bop jazz that Blue Note was famous for, but also that slightly outside music with just a slight avant-garde influence. Certainly not as far out as Jackie McLean went, but a nice contemporary inside-outside style of music.

I have also felt that Maiden Voyage had a Kind of Blue sort of vibe, being modal in a lot of spots that's not surprising, but the feel of the music, a challenging, yet contemporary at-the-same-time-sound, marks this classic as one of the most accessible jazz albums of all-time, just like Kind of Blue was before it.

Note: The above pictured copy was a mid 70's liberty issue. I paid less than 20 dollars for it, a very reasonable price. These 70's issues are rising in price. People who can not afford the hundreds of dollars for a 60's NY USA first press, like these black b Liberty issues. They sound pretty good and do have Van Gelder in the dead wax.