Micaela Boland

This album is one of guitarist Kenny Burrell's best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer [more]

Out to Lunch stands as Eric Dolphy's magnum opus, an absolute pinnacle of avant-garde jazz in any form or era. Its rhythmic complexity was perhaps unrivaled since Dave Brubeck's Time [more]

Like Eric Dolphy before him, Jackie McLean sought to create a kind of vanguard "chamber jazz" that still had the blues feel and -- occasionally -- the groove of hard bop, though [more]

This Blue Mitchell date is a classic, particularly the opening "Fungii Mama," which is really catchy. The trumpeter's quintet of the period (which includes tenor saxophonist Junior [more]

This early recording by Joe Henderson is not only one of the finest of all of his fine recordings, but is also a high point for 1960s jazz. At this point in his career, Henderson was a [more]

This 2003 reissue of the Art Blakey classic Indestructible is part of Blue Note's Rudy Van Gelder series. Van Gelder himself has done the 24-bit remasters from analog masters. The added track left off the original session is Wayne Shorter's

This recording from 1966 is the very album that should have made Cecil Taylor the superstar of free jazz. Instead, despite the fact that it was received well by many critics [more]

Fuego -- a title that might be somewhat misleading -- is the final Blue Note recording exclusively pairing Donald Byrd with Jackie McLean, a fruitful partnership that set the yin of the (in [more]

Grant Green's third album to be released, Grantstand teams the clear-toned guitarist with an unlikely backing group of musicians who rarely appeared with Blue Note otherwise: tenor [more]

After the success of Song for My Father and its hit title cut, Horace Silver was moved to pay further tribute to his dad, not to mention connect with [more]