Blue Note

Compiled from both Warner and Universal Music’s extensive catalogues this 3CD collection of Classic Blue Note repertoire features the most iconic performances from the biggest names in the genre. Including the likes of musical legends Miles Davis, John Coltrane, Herbie Hancock, Sidney Bechet, Thelonious Monk and many more…

Blue Note Plays Rodgers & Hart is a solid single-disc collection of standards by Rodgers & Hart culled from various Blue Note jazz albums. Included are such cuts as pianist Sonny Clark's version of "Lover" off his eponymous 1957 date as well as trumpeter Thad Jones' duet with guitarist Kenny Burrell on "Little Girl Blue" from the 1956 release Detroit-New York Junction.

One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early '70s was immediately distinctive and the pacesetter in jazz.

Granted, a single-disc overview of Blue Note's finest recordings can't help but offer listeners more than a myopic view of the label's true scope, but for jazz neophytes, this nine-track collection will undoubtedly serve as a tantalizing taste of the company's riches. The song selection, though lacking few surprises, is consistently wonderful – how could a disc featuring John Coltrane's "Blue Train," Herbie Hancock's "Maiden Voyage," Horace Silver's "Song for My Father" and Lee Morgan's "The Sidewinder" be anything but? – and purists' complaints aside, for new fans it's a solid introduction to the Blue Note magic.

Blue Note Plays Billie Holiday is a solid single-disc collection of standards associated with legendary vocalist Billie Holiday that were culled from various Blue Note releases. Included are such cuts as trumpeter Clifford Brown's 1953 version of "Easy Living" off New Star on the Horizon and tenor saxophonist Ike Quebec's take on "Lover Man" from his 1961 album It Might as Well Be Spring.

These are mature talents, presented to the world by the Italian branch of Blue Note. It isn't necessary though, because Paolo Fresu and Uri Caine already have quite a name among jazz connoisseurs. They recently released the album Think and we can expect them to tap this source extensively.

Shift is a welcome return to the emotive stylings of Logan Richardson, the Paris-based, Kansas City-born saxophonist and composer who garnered respect as a fluent voice with his 2007 debut Cerebral Flow (Fresh Sound) and projects with peers like pianist Gerald Clayton in NEXT Collective. With this debut on Blue Note the blending of culturally rich environments feed creative music realized by Richardson's dream band of jazz luminaries: guitarist Pat Metheny, pianist Jason Moran and a superb rhythm unit of bassist Harish Raghavan and drummer Nasheet Waits.

Blue Note Plays the Beatles contains 11 previously released performances by jazz artists dipping into the Lennon/McCartney songbook. When deciding to cover such well-known songs, an artist has two possible ways of going about it: either re-create the track with no challenge to the original or attempt the complete opposite. Falling into the first category are "I've Just Seen a Face" by Holly Cole, "And I Love Her" by Kevin Hays, and "Come Together" by Dianne Reeves and Cassandra Wilson with Bob Belden.

Bill Frisell convenes a new line-up of musical friends on his third Blue Note album Four, which features the acclaimed guitarist with Greg Tardy on saxophone and clarinet, Gerald Clayton on piano, and Johnathan Blake on drums. Together the foursome delve into intimate explorations of 13 Frisell originals both new and old to create this stunning new work that is a meditation on loss, renewal, and friendship.

This release is a change of pace for Eliane Elias. Instead of interpreting Brazilian songs, fusion, or modern bop, Elias shows off her classical technique on a set of acoustic solos plus six duets with Herbie Hancock. She really digs into the standards (sometimes sounding a little like Keith Jarrett) and creates some fairly free and unexpected ideas while putting the accent on lyricism. Some of the music is introspective, and there are wandering sections, but the net results are logical and enjoyable. As for the duets, Elias and Hancock mostly stay out of each other's way, which is an accomplishment when one considers that the four-part "Messages" is a series of free improvisations. There are playful spots (particularly on the adventurous ten-minute rendition of "The Way You Look Tonight") and, since Elias knows Hancock's style well (and was clearly thrilled to have him on the date), their collaborations work quite well.