Back catalogue:

Review: The reissue of Booker Little 4 & Max Roach as part of the Tone Poet Vinyl Series is an exciting announcement for jazz fans. Booker Little, a brilliant trumpeter whose life was tragically cut short at 23, left an indelible mark on the jazz world. This 1958 album, recorded when Little was just 20, showcases his extraordinary talent both as a musician and composer. The LP features the dynamic interplay between Little and Max Roach, one of jazz's most influential drummers, along with George Coleman on tenor sax, Tommy Flanagan on piano and Art Davis on bass. It opens with a spirited rendition of Miles Davis' 'Milestones', setting the tone for the session, before the standards 'Sweet and Lovely' and 'Moonlight Becomes You' are given fresh interpretations. But the heart of the album lies in Little's original compositions: 'Rounder's Mood,' 'Dungeon Waltz,' and 'Jewel's Tempo.' These tracks highlight his inventive melodic sense and technical strength. The Tone Poet Series ensures an audiophile-quality experience, with meticulous mastering by Kevin Gray and a deluxe presentation that lives up to the highest standards.

Review: By 1960, Georgia-born tenor saxophonist Mobley was at the height of his powers, crafting a trilogy of hard bop masterpiecesiSoul Station, Roll Call and Workout. Roll Call, the middle entry, finds Mobley leading an inspired quintet featuring the young and fiery Freddie Hubbard on trumpet, alongside the rock-solid Soul Station rhythm section of pianist Wynton Kelly, bassist Paul Chambers and the explosive Art Blakey on drums. The result is a hard bop stunner, bursting with energy, interplay and lyrical phrasing. This reissue opens with the dynamic title track, a minor-key powerhouse that jumps out of the speakers, pushing each musician to deliver their best. Mobley and Hubbard's chemistry is electrifying, their solos crackling with urgency. The swaggering 'My Groove Your Move' follows, built on a confident, swinging groove, while 'A Baptist Beat' channels the deep, soulful call-and-response tradition of the black church. A second take of the latter further showcases the group's enthusiasm and spontaneity. The album's only standard, 'The More I See You', is a sublime moment of restraint, with Hubbard's use of the harmon mute adding a delicate, smoky touch. Mobley's playing here epitomises his gift for melodic improvisationisubtle yet deeply expressive. His warm, bluesy tone and sophisticated phrasing made him one of the most lyrical saxophonists of his era. Even decades later, Roll Call remains a cornerstone of hard bop.

Review: Recorded in the early hours of Good Friday 1960, Good Friday Blues captures the spontaneous brilliance of The Modest Jazz Trio, led by Jim Hall on guitar, Red Mitchell on piano and Red Kelly on bass. Originally intended to record a single track for a blues anthology, the session evolved into a full album as the trio's effortless chemistry and musical inspiration turned the night into a memorable session. The resulting six tracks include Mitchell's originals and interpretations of standards like 'Willow Weep For Me' and 'I Remember You.' The absence of drums highlights Hall's delicate guitar tones and Mitchell's surprising piano talents, with Kelly's bass providing a solid foundation. One of the more underrated jazz albums for the time, this reissue should help catapult it to the level of attention it deserves.

Review: Following the runaway success of 1964's The Sidewinder, Alfred Lion continued to record Lee Morgan in pursuit of another boogaloo hit. While subsequent albums like 1965's The Rumproller, The Gigolo, and Cornbread didn't match the same commercial heights, they showcased Morgan's musical prowess. Recorded over two summer dates, The Gigolo features Morgan leading a quintet with Wayne Shorter, Harold Mabern, Bob Cranshaw, and Billy Higgins. This set of swaggering hard bop includes Morgan's originals like the groovy Yes I Can, No You Can't, up-tempo gems such as 'Speedball,' and the stirring 11-minute title track. The album closes with a lush arrangement of 'You Go To My Head,' adding a sensual sway to the collection. This Blue Note Classic Vinyl Edition presents the album in stereo, all-analogue, mastered by Kevin Gray from the original tapes, and pressed on 180g vinyl at Optimal, preserving Morgan's dynamic performances and the quintet's vibrant interplay for contemporary listeners and ardent vinyl enthusiasts.

Review: Lee Morgan's Taru, recorded in 1968 but released in 1980, showcases the trumpeter at a pivotal point, exploring a variety of styles with a stellar band. This album is a gem, featuring George Benson's inspired solos on three tracks and Bennie Maupin's debut collaboration with Morgan, setting the stage for future classics like Caramba! and Live at the Lighthouse. The rhythm section, consisting of John Hicks on piano, Reggie Workman on bass, and Billy Higgins on drums, delivers a masterclass in hard bop. The album kicks off with 'Avotcja One,' a modal jazz piece that sets a dynamic tone. 'Get Yourself Together' charges forward with hard bop energy, while 'Haeschen' and 'Taru, What's Wrong With You?' showcase Morgan's ability to craft beautiful ballads. The gospel-tinged 'Dee Lawd' and the funky boogaloo 'Durem' add stylistic variety, making the six-song set a rich display of jazz. This Blue Note Tone Poet Series reissue is a true audiophile delight. Produced by Joe Harley and mastered by Kevin Gray from the original analog tapes, the 180g vinyl pressing at RTI ensures pristine sound quality. The deluxe gatefold tip-on jacket adds a touch of elegance.