Time for Tyner is the ninth album by jazz pianist McCoy Tyner and his third released on the Blue Note label. It was recorded in May 1968 and features performances by Tyner with Bobby Hutcherson, Herbie Lewis and Freddie Waits. The Penguin Guide to Jazz selected this album as part of its suggested "Core Collection" calling it "a powerhouse performance from first to last." The Allmusic review by Scott Yanow calls the album "A fine all-round showcase for McCoy Tyner in the late '60s".
Freddie Jackson ended his five-album stay at Capitol ended with Time for Love, a satisfying effort that isn't much different from his previous Capitol releases. The New Yorker obviously knew what his strengths were – smooth soul/urban contemporary music and romantic ballads – and once again, the singer succeeds by zeroing in on them. The standout track is a poignant cover of the Gamble & Huff classic "Me and Mrs. Jones" (recorded by Billy Paul in 1971 and subsequently by the Dramatics), and Jackson also brings plenty of honest emotion to such slick yet gritty tunes as "I Could Use a Little Love Right Now," "Trouble" and "Can We Try." Though it falls short of the excellence of Rock Me Tonight and Just Like the First Time, this CD was a welcome addition to his catalog.
Dial "S" For Sonny is the debut album by jazz pianist Sonny Clark recorded for the Blue Note label and performed by Clark with Art Farmer, Curtis Fuller, Hank Mobley, Wilbur Ware, and Louis Hayes. Dial "S" For Sonny is one of those great old recordings that's worth seeking out to hear some young hard boppers playing their best. The musicians are brilliant, the music is solid, and - in the case of this Music Maters pressing - the reissue is first class all the way.
The album was inspired by a trip that Silver had made to Brazil. The cover artwork features a photograph of Silver's father, John Tavares Silva, to whom the title song was dedicated. "My mother was of Irish and Negro descent, my father of Portuguese origin," Silver recalls in the liner notes: "He was born on the island of Maio, one of the Cape Verde Islands." The album was identified by Scott Yanow in his Allmusic essay "Hard Bop" as one of the 17 Essential Hard Bop Recordings.
Free for All is a 1964 jazz album by Art Blakey & the Jazz Messengers released on Blue Note in 1964. Freddie Hubbard's composition "The Core" is dedicated to the CORE (Congress of Racial Equality) and expresses "Hubbard's admiration of that organization persistence and resourcefulness in its work for total, meaningful equality." "They're getting", he explains, "at the core, at the center of the kinds of change that have to take place before this society is really open to everyone. And more than any other group, CORE is getting to youth, and that's where the center of change is." The piece was called that way also because Hubbard thought that the musicians "got at some of the core of jazz - the basic feelings and rhythms that are at the foundation of music."
Mode for Joe is the fifth studio album by American jazz saxophonist Joe Henderson, recorded and released in 1966. It would be the last Blue Note studio album to feature Henderson as a leader. Mode for Joe has been reissued on CD several times over; the 2004 Blue Note reissue remastered by Rudy Van Gelder is recommended, although the difference in sound is minimal and the bonus version of "Black" has been placed at the bottom track list instead of as an alternate in the middle.
The Real McCoy is the seventh album by jazz pianist McCoy Tyner and his first released on the Blue Note label. It was recorded on April 21, 1967 following Tyner's departure from the John Coltrane Quartet and features performances by Tyner with Joe Henderson, Ron Carter and Elvin Jones. Producer Alfred Lion recalls the recording session as a "pure jazz session. There is absolutely no concession to commercialism, and there's a deep, passionate love for the music embedded in each of the selections".
Tony Williams was just 18 years old when he recorded this, his 1964 debut as a leader, but he was already a prodigious drummer who could maintain a rapid-fire flow of subtle accents that prodded a soloist into fresh directions. His effect on a band was electric, and he had rapidly moved to the front ranks of jazz musicians, working with Jackie McLean, Eric Dolphy, and Miles Davis. More than a fine drummer, Williams was a musical visionary, and with Life Time he recorded one of the most forward-looking of the Blue Note albums of the '60s.