Blue Note Records

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Blue Note Records
Image:Bluenoterecords.jpg
Parent company	EMI
Founded	1939
Founder	Alfred Lion Francis Wolff Max Margulis
Distributing label	Blue Note Label Group
Genre	Jazz
Country of origin	US
Official website	www.bluenote.com

Blue Note Records is a jazz record label, established in 1939 by Alfred Lion, Francis Wolff and Max Margulis. It derives its name from the characteristic "blue notes" of jazz and the blues. Blue Note Records is currently owned by the EMI Group and in 2006 has been expanded to fill the function of an umbrella label group bringing together a wide variety of EMI-owned labels and imprints specializing in the growing market segment of music for adults (see History-Resurrection, below).

Blue Note throughout its history has principally been associated with the "hard bop" style of jazz (mixing bebop with other forms of music including soul, blues, rhythm and blues and gospel). Horace Silver, Jimmy Smith, Freddie Hubbard, Lee Morgan, Art Blakey and Grant Green were among the label's leading artists, but almost all the important musicians in postwar jazz recorded for Blue Note on occasion.

Contents 1 History of Blue Note records 1.1 Early years 1.2 Bebop 1.3 Hard bop and beyond 1.4 The avant garde 1.5 Lion and Wolff retire 1.6 Resurrection 2 Cover art 3 Influence 4 See also 5 Footnotes 6 References 7 External links

[edit] History of Blue Note records

[edit] Early years

Lion was a German who first heard jazz as a young boy in Berlin. He moved to New York in 1937, and in 1939 recorded pianists Albert Ammons and Meade Lux Lewis in a one-day session in a rented studio. The Blue Note label initially consisted of Lion and Max Margulis, a communist writer who funded the project. The label's first releases were traditional "hot" jazz and boogie woogie, and the label's first hit was a performance of "Summertime" by saxophonist Sidney Bechet. Musicians were supplied with alcoholic refreshments, and recorded in the early hours of the morning after their evening's work in clubs and bars had finished. The label soon became known for treating musicians uncommonly well - setting up recording sessions at congenial times, and allowing them to be involved in all aspects of the record's production.

Francis Wolff, a professional photographer, emigrated to the USA at the end of 1939 and soon joined forces with Lion, a childhood friend. In 1941, Lion was drafted into the army for two years. Milt Gabler at the Commodore Music Store offered storage facilities and helped keep the catalog in print, with Wolff working for him. By late 1943, the label was back in business recording musicians and supplying records to the armed forces.

[edit] Bebop

Towards the end of the war, saxophonist Ike Quebec was among those who recorded for the label. Quebec would act as a talent scout for the label until his death in 1963. Although belonging to a previous generation, he could appreciate the new bebop style of jazz, largely created by Dizzy Gillespie and Charlie Parker.

In 1947, pianist Thelonious Monk recorded several sessions for the label. These were his first recordings as a leader, and also saw the Blue Note debut of drummer Art Blakey. Monk's recordings for Blue Note between 1947 and 1952 did not sell well, but have since come to be regarded as amongst the most important of the bebop era. Other bebop or modernist musicians who recorded for Blue Note during the late forties and early fifties were pianist Tadd Dameron, trumpeters Fats Navarro and Howard McGhee (featuring trombonist J. J. Johnson), saxophonist James Moody and pianist Bud Powell. The sessions by Powell, like those his close friend Monk recorded for the label, are commonly ranked among his best. J. J. Johnson and trumpter Miles Davis both recorded several sessions for Blue Note between 1952 and 1954, but by then the musicians who had created bebop were starting to explore other styles.

[edit] Hard bop and beyond

1951 saw the first vinyl 10" releases by Blue Note, and the label was soon recording new talent such as Horace Silver (who would stay with Blue Note for a quarter of a century), the Jazz Messengers (originally a collaborative group, but soon to become Art Blakey's band), Milt Jackson (in what would soon become the Modern Jazz Quartet), Clifford Brown and Herbie Nichols. Rudy Van Gelder recorded most Blue Note releases from 1953 until the late sixties, and his often-praised engineering was, in its own way, as important and revolutionary as the music. Another important difference between Blue Note and other independent labels (for example Prestige Records, who also employed Van Gelder) was that musicians were paid for rehearsal time prior to the recording session; this helped ensure a better end result on the record. Producer Bob Porter of Prestige Records (along with Riverside Records probably Blue Note's only serious competition during the 1950s and 1960s) was famously quoted as saying that "The difference between Blue Note and Prestige is two days rehearsal."[3] Organist Jimmy Smith was signed in 1956, and was responsible for the first 12" album of original material released by the label.

The late fifties saw debut recordings for Blue Note by (amongst others) Sonny Rollins, Hank Mobley, Lee Morgan, Sonny Clark, Kenny Dorham, Kenny Burrell, Jackie McLean, Donald Byrd, Lou Donaldson, the return of Bud Powell (by then past his prime), John Coltrane's Blue Train, and Cannonball Adderley's Somethin' Else (featuring Miles Davis in a rare supporting role). Blue Note was by then recording a mixture of established acts (Rollins, Adderley) and artists who in some cases had recorded before, but often produced performances for the label which by far exceeded earlier recordings in quality (Blue Train is generally considered to be the first significant recording by Coltrane as a leader). Horace Silver and Art Blakey and the Jazz Messengers continued to release a series of artistically and commercially successful recordings.

The early sixties introduced Dexter Gordon to the label. Gordon was a saxophonist from the bebop era who had spent several years in prison and dealing with drug addiction, and he made several albums over a five year period. Gordon also appeared on the debut album by Herbie Hancock - by the mid sixties, all four of the younger members of the Miles Davis quintet (Hancock, Wayne Shorter, Ron Carter and Tony Williams) were recording for the label, and Hancock and Shorter in particular produced a succession of superb albums in a variety of styles. Carter did not actually record under his own name until the label's resurrection in the 1980s, but played double bass on many other musicians' sessions. Many of these also included Freddie Hubbard, a trumpeter who also recorded for the label as a leader. One of the features of the label during this period was a "family" of musicians (Hubbard, Hancock, Carter, Grant Green, Joe Henderson, Kenny Dorham, Lee Morgan, Hank Mobley and many others) who would record as sidemen on each other's albums without necessarily being part of the leader's working group.

In 1963 Lee Morgan scored a significant hit with "The Sidewinder", and Horace Silver with "Song for My Father" did the same the following year. As a result, Lion was under pressure by independent distributors to come up with similar successes, with the result that many Blue Note albums of this era start with a catchy tune intended for heavy airplay.

[edit] The avant garde

Although many of the acts on Blue Note were recording commercial jazz for a wide audience, the label also made some attempt to document the emerging avant-garde and free jazz movement. Andrew Hill, a highly individual pianist, made several albums for the label, some with saxophonist Eric Dolphy. Dolphy's Out to Lunch (featuring a famous cover by Reid Miles) is perhaps his most well-known album. Saxophonist Ornette Coleman released two albums recorded with a trio in a Stockholm club, and three studio albums (including The Empty Foxhole, with his ten-year-old son on drums). Pianist Cecil Taylor recorded two albums for Blue Note during the early part of his career, and saxophonist Sam Rivers, vibraphonist Bobby Hutcherson and organist Larry Young also recorded albums which diverged from the "hard bop" style usually associated with the label. Saxophonist Jackie McLean, a stalwart of the label's hard bop output since the late 1950s, also crossed over into the avant garde in the early 1960s. He recorded a string of notable avant garde albums including One Step Beyond and Destination Out.

Though these avant garde records did not sell as well as some other Blue Note releases, Lion thought it was important to document new developments in jazz.

[edit] Lion and Wolff retire

Blue Note was acquired by Liberty Records in 1965 and Lion retired in 1967. At this point most albums were produced by Wolff or pianist Duke Pearson; Wolff died in 1971. Despite some good albums, the commercial viability of jazz was in question. Reid Miles's services were dispensed with and more borderline and outright commercial records were made (often by artists who had previously recorded "straight" jazz for the label - Bobby Hutcherson, Lou Donaldson, Donald Byrd, Grant Green, Horace Silver).

[edit] Resurrection

United Artists purchased Liberty Records in 1969. When EMI purchased United Artists in 1979, it phased out the Blue Note label until 1985, when it was relaunched as part of EMI Manhattan Records, both for re-issues and new recordings. Some artists previously associated with Blue Note, such as McCoy Tyner have made new recordings, while younger musicians such as Joe Lovano, John Scofield, Greg Osby, Jason Moran and arranger / composer Bob Belden have established notable reputations through their Blue Note albums. The label has also found great commercial success with the vocalist Norah Jones, and has released new albums by established artists on the fringes of jazz such as Van Morrison, Al Green, Anita Baker and newcomer Amos Lee, sometimes referred to as the 'male Norah Jones'. Jazz and Classical trumpeter Wynton Marsalis is currently signed to the label.

Blue Note has also pursued an active reissue program in recent years. Bruce Lundvall was appointed to oversee the label at the time of the revival and Michael Cuscuna has worked as freelance advisor and reissue producer. Some of Blue Note's output has appeared in CD Box sets issued by Cuscuna's Mosaic Records, and there has been a series of reissues of older material, much of it in the "RVG series", remastered by Rudy Van Gelder. Today, Blue Note Records is the flagship jazz label for Capitol Jazz and Classics and is the parent label for the Capitol Jazz, Pacific Jazz and Roulette Jazz labels.

In 2006, EMI expanded Blue Note to create the Blue Note Label Group by moving its Narada group of labels to New York to join with Blue Note, centralizing EMI's approach to music for the adult market segment. The labels newly under the Blue Note umbrella are Narada Productions (contemporary jazz and world-influenced music, including exclusively licensed sub-label Real World Records), Back Porch Records (folk and Americana), Higher Octave Records (New Age music), and Mosaic Records (devoted exclusively to reissuing jazz recordings in limited-edition boxed sets). ^[1][2] As of June 2007, Bruce Lundvall, founder of Manhattan Records, continues as President/CEO of the Blue Note Label Group, reporting directly to Eric Nicoli, the Chief Executive Officer of EMI Group. ^[3]

[edit] Cover art

In 1956, Blue Note employed Reid Miles, an artist who worked for Esquire magazine. The cover art produced by Miles, often featuring Wolff's photographs of musicians in the studio, was as influential in the world of graphic design as the music within would be in the world of jazz.^[4] Under Miles, Blue Note was known for their striking and unusual album cover designs. Miles' graphical design was distinguished by its tinted black and white photographs, creative use of sans-serif typefaces, and restricted color palate (often black and white with a third color), and frequent use of solid rectangular bands of color or white.

Though Miles' work is closely associated with Blue Note, and has earned iconic status and frequent homage, Miles was only a casual jazz fan, according to Richard Cook^[5]; Blue Note gave him several copies of each of the many dozens of record he designed, but Miles gave most to friends or sold them to second-hand record shops.

A few mid-fifties album covers featured drawings by an as-yet-little-known Andy Warhol.^[6]

[edit] Influence

• In 2003, hip hop producer Madlib released "Shades of Blue: Madlib Invades Blue Note," a collection of his remixes and interpretations of classic Blue Note music. Pete Rock, J. Dilla, and DJ Spinna have likewise been involved in similar projects.
• In 2004, Burning Vision Entertainment created the video for Helicopter Girl's 'Angel City' using the art from numerous Blue Note LP sleeves to startling effect.

[edit] See also

• List of record labels
• Blue Note Festival
• artists signed to Blue Note Label Group
• Category:Blue Note Records albums

[edit] Footnotes

[edit] References

• Cook, Richard. Blue Note Records: A Biography. ISBN 1-932112-10-3.
• Cuscuna, Michael & Ruppli, Michel The Blue Note Label: A Discography. ISBN 0-313-31826-3 [2nd ed 2001]
• Marsh, Graham & Callingham, Glyn. Blue Note: Album Cover Art. ISBN 0-8118-3688-6.
• Marsh, Graham Blue Note 2: the Album Cover Art: The Finest in Jazz Since 1939. ISBN 0-8118-1853-5 [US edition]
• Wolff, Francis et al. Blue Note Jazz Photography of Francis Wolff. ISBN 0-7893-0493-7.

[edit] External links

• Blue Note at 60
• Blue Note Official Site
• Blue Note Discography
• A video interview with Bruce Lundvall on Blue Note Records

Business data

• Blue Note Records at Google Finance
• Blue Note Records at Yahoo Finance
• Blue Note Records at Hoover'sde:Blue Note Records

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