Dad Reissue

"Open Sesame" is the debut album by trumpeter Freddie Hubbard released on the Blue Note label in 1960 as BST 84040. It features performances by Hubbard, Tina Brooks, McCoy Tyner, Sam Jones and Clifford Jarvis. The Penguin Guide to Jazz has included Open Sesame as part of a selected "Core Collection", and has summarized the album as "a great Blue Note set".

Doctor John's second solo piano album finds him combining country, blues, and New Orleans standards with originals, half of them instrumentals, and half of them containing vocals that sound like they were recorded off the piano microphone. This is not a high-tech recording, by any means, but in its unadorned way it does capture the flavor of Doctor John as directly as any record he's made.

Doctor John's second solo piano album finds him combining country, blues, and New Orleans standards with originals, half of them instrumentals, and half of them containing vocals that sound like they were recorded off the piano microphone. This is not a high-tech recording, by any means, but in its unadorned way it does capture the flavor of Doctor John as directly as any record he's made.

Recorded in late 1960, Kenny Drew's seventh recording as a leader is significant for many reasons, not the least of which that it is one of the finest Blue Note hard bop statements in either of their catalogues. Teamed with rising young star trumpeter Freddie Hubbard and the wonderful tenor saxophonist Hank Mobley fresh off stints with Donald Byrd and Art Blakey, Drew joined the ranks of the premier mainstream jazz pianists just prior to moving permanently to Europe. He's a complementary piece of the puzzle as a player, but stirs the drink as the composer of all of these very fine hard bop vehicles.

Doctor John's second solo piano album finds him combining country, blues, and New Orleans standards with originals, half of them instrumentals, and half of them containing vocals that sound like they were recorded off the piano microphone. This is not a high-tech recording, by any means, but in its unadorned way it does capture the flavor of Doctor John as directly as any record he's made.

"Touch" is the debut album by Canadian singer-songwriter Sarah McLachlan, released in 1988 and then re-released in 1989. The album was popular in alternative rock circles, but McLachlan would not achieve commercial stardom.

"Cool Struttin’" is a 1958 album by jazz pianist Sonny Clark. Described as an "enduring hard-bop classic" by The New York Times, the album features alto saxophonist Jackie McLean, trumpeter Art Farmer and two members of the Miles Davis Quintet, drummer Philly Joe Jones and bassist Paul Chambers. According to The Stereo Times, the album enjoys "a nearly cult status among hardcore jazz followers", a reputation AllMusic asserts it deserves "for its soul appeal alone".

"Open Sesame" is the debut album by trumpeter Freddie Hubbard released on the Blue Note label in 1960 as BST 84040. It features performances by Hubbard, Tina Brooks, McCoy Tyner, Sam Jones and Clifford Jarvis. The Penguin Guide to Jazz has included Open Sesame as part of a selected "Core Collection", and has summarized the album as "a great Blue Note set".

"Eye in the Sky" is the sixth studio album by English rock band The Alan Parsons Project. Songs on this album are in a number of different styles, from cool and funky to lyrical and heavily orchestrated. The album contains the Project's biggest hit, the title track with lead vocals by Eric Woolfson. The album itself was a major success, reaching the Top 10 in numerous countries. "Eye in the Sky" is the first of three albums the Project recorded on analogue equipment and mixed directly to the digital master tape.

Whatever the coincidence or lack thereof, jazz listeners were fortunate when Armstrong's and Ellington's paths crossed in an RCA Victor recording studio in 1961, thanks to producer Bob Thiele's influence. And jazz listeners are doubly fortunate that devoted jazz re-issue producer Michael Cuscuna found the out-takes from those sessions. The result is that listeners can be a fly on the wall during the creative process as the two kind-of centeniarians develop the final recorded tracks that the public heard on the original Roulette recordings.