Japan+shm Cd+blue+note+24 192

Andrew Hill - Lift Every Voice (1969) {2014 Japan SHM-CD Blue Note 24-192 Remaster TYCJ-81090}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 435 Mb | MP3 @320 -> 170 Mb
Full Artwork @ 600 dpi (png) -> 220 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1969, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81090
Jazz / Post Bop / Piano

Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A rare and beautiful Andrew Hill session, and one of the classic Blue Note entries into the "jazz and voices" sound that the label pioneered with Donald Byrd and Eddie Gale. Hill leads a core jazz group that includes Woody Shaw on trumpet, Carlos Garnett on tenor, Richard Davis on bass, and Freddie Waits on drums – and the group is backed by a vocal ensemble with a very spiritual vibe – a chorus who soar out soulfully, and really augment the jazz instrumentation of the album!

Freddie Roach - Brown Sugar (1964) {2014 Japan SHM-CD Blue Note 24-192 Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 230 Mb | MP3 @320 -> 89 Mb
Full Artwork @ 600 dpi (png) -> 235 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1964, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5046
Jazz / Soul Jazz / Organ

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Smoking work on Hammond from Freddie Roach – a key player in the Blue Note lineup of the 60s, and a strong link between the label's soul jazz and modern sides! The sound here is a really beautiful one – partly in the organ/tenor mode forged by Baby Face Willette and John Patton in their early recordings for Blue Note, but also stretching out in that way that started to show up in Patton's later work, and in the seminal work from the time by Larry Young. Freddie's touch on the keys is really opening up here – clearly driven by some more original ideas that help push the album past the more R&B influenced sound of some of his earlier work. Players on the set include Joe Henderson on tenor, Eddie Wright on guitar, and Clarence Johnston on drums – and title cuts include "Brown Sugar", plus "All Night Long", "Have You Ever Had The Blues", and "The Right Time".

Elvin Jones - Coalition (1970) {2014 Japan SHM-CD Blue Note 24-192 Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 252 Mb | MP3 @320 -> 92 Mb
Full Artwork @ 600 dpi (png) -> 321 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1970, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81096
Jazz / Post Bop / Modal Music / Groove / Drums / Saxophone

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A stunning early set as a leader from Elvin Jones – both a tremendous demonstration of the free energy he let loose after the passing of John Coltrane, and a set that's also still got some key Coltrane-esque elements! As with other Jones albums to follow, Elvin's got some key reedmen on hand – George Coleman on tenor, and Frank Foster on tenor, alto, and bass clarinet – both given plenty of room to run around with long solos on the open space of the record – yet without ever blowing off their heads as much as some of the younger players who'd work with Jones. There's no piano at all on the set – just the rock-slid bass of Wilbur Little, and additional congas from Candido next to Elvin's drums. The tracks have a haunting quality that mixes modal grooving with spare moments, and titles include "Simone", "5/4 Thing", "Shinjitu", and a nice version of "Yesterdays".

Lee Morgan - The Rajah (1966) {2014 Japan SHM-CD Blue Note 24-192 Remaster UCCQ-5023}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 308 Mb | MP3 @320 -> 108 Mb
Full Artwork @ 600 dpi (png) -> 252 Mb | 5% repair rar | 24bit 192 kHz remaster
© 1966, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5023
Jazz / Hard Bop / Trumpet

Features the high-fidelity SHM-CD format (fully compatible with standard CD player) and the latest remastering (24bit 192kHz). This long-lost Lee Morgan session was not released for the first time until it was discovered in the Blue Note vaults by Michael Cuscuna in 1984; it has still not been reissued on CD. Originals by Cal Massey, Duke Pearson ("Is That So") and Walter Davis, in addition to a couple of surprising pop tunes ("What Not My Love" and "Once in My Lifetime") and Morgan's title cut, are well-played by the quintet (which includes the trumpeter/leader, Hank Mobley on tenor, pianist Cedar Walton, bassist Paul Chambers and drummer Billy Higgins).

Bobby Hutcherson - Happenings (1966) {2013 Japan SHM-CD Blue Note 24-192 Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 265 Mb | MP3 @320 -> 105 Mb
Full Artwork @ 600 dpi (png) -> 255 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1966, 2013 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81027
Jazz / Post Bop / Vibraphone

Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Bobby Hutcherson's first quartet outing, Happenings, casts the brightest spotlight on the vibraphonist's soloing abilities, matching him once again with pianist Herbie Hancock (who is also heavily featured) and drummer Joe Chambers, plus bassist Bob Cranshaw. For that matter, the album also leans heavily on Hutcherson's compositional skills; save for Hancock's "Maiden Voyage," six of the seven numbers are Hutcherson originals.

Lou Donaldson - Cosmos (1971) {2014 Japan SHM-CD Blue Note 24-192 Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 276 Mb | MP3 @320 -> 96 Mb
Full Artwork @ 600 dpi (png) -> 329 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1971, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81073
Jazz / Jazz Funk / Soul Jazz / Groove / Saxophone

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Cosmos is an album by jazz saxophonist Lou Donaldson recorded for the Blue Note label featuring Donaldson with Ed Williams, Leon Spencer, Melvin Sparks, Jerry Jemmott, Idris Muhammad, and Ray Armando, with vocals by Mildred Brown, Rosalyn Brown, and Naomi Thomas, arranged by Jimmy Briggs. Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ on July 16, 1971.

Duke Pearson - Merry Ole Soul (1969) {2014 Japan SHM-CD Blue Note 24-192 Remaster UCCQ-5053}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 236 Mb | MP3 @320 -> 93 Mb
Full Artwork @ 600 dpi (png) -> 305 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1969, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | UCCQ-5053
Jazz / Hard Bop / Piano

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. One of the strangest albums ever recorded for Blue Note – and one of the coolest, too! Duke Pearson recorded this set in 1969 – during the middle of his last productive period of activity, at a time when he was doing some tremendous genre-crossing jazz that really broke from his earlier styles.

The Three Sounds and The Oliver Nelson Orchestra - Coldwater Flat (1968) {2014 Japan SHM-CD Blue Note 24-192 Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 240 Mb | MP3 @320 -> 79 Mb
Full Artwork @ 600 dpi (png) -> 335 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1968, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81083
Jazz / Hard Bop / Post Bop / Soul Jazz / Modern Big Band / Piano Trio

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A brilliant pairing of the Three Sounds trio with the larger arrangements of reedman Oliver Nelson – easily one of the most soulful bandleaders of the 60s, and a talent who really helps open up the trio's groove! The piano of Gene Harris is nice and sharp – played with a soulful sock on both sides of the keyboard – and soaring out over these full charts from Nelson that really sparkle with great touches from players like Plas Johnson on tenor, Lou Blackburn on trombone, Bobby Bryant on trumpet, and both Anthony Ortega and Frank Strozier on alto.

Reuben Wilson - A Groovy Situation (1970) {2014 Japan SHM-CD Blue Note 24-192 Remaster TYCJ-81097}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 235 Mb | MP3 @320 -> 92 Mb
Full Artwork @ 600 dpi (png) -> 325 Mb | 5% repair rar | 24bit 192 kHz remaster
© 1970, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81097
Jazz / Soul Jazz / Jazz Funk / Hammond Organ

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Reuben Wilson changes up the groove from his previous Blue Note sets – and the result is one of his greatest albums to date! This smoking little set has an edge that you really wouldn't expect – rhythms that move past the simple Blue Funk mode – into a more complicated style of funky jazz that really has Reuben hitting the Hammond in a fresh new way – of the sort he'd explore on his later albums for the Groove Merchant label. The group's a simple quartet – with the unusual lineup of Earl Turbington on alto, Eddie Diehl on guitar, and Harold White on drums – but the sound is a lot fuller and richer, thanks to a free-spirited approach to the rhythms of the tunes.

Bobby Hutcherson - San Francisco (1970) {2014 Japan SHM-CD Blue Note 24-192 Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 258 Mb | MP3 @320 -> 98 Mb
Full Artwork @ 600 dpi (png) -> 248 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1970, 2014 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81070
Jazz / Post Bop / Vibraphone

Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Bobby Hutcherson's late-'60s partnership with tenor saxophonist Harold Land had always produced soulful results, but not until San Francisco did that translate into a literal flirtation with funk and rock. After watching several advanced post-bop sessions gather dust in the vaults, Hutcherson decided to experiment with his sound a bit, but San Francisco still doesn't wind up the commercial jazz-funk extravaganza that purists might fear. Instead, Hutcherson and Land stake out a warm and engaging middle ground between muscular funk and Coltrane-style modality; in other words, they have their cake and eat it too.