Bringing the funk in 1968, with George Benson, Lonnie Smith, Blue Mitchell, and Leo Morris (who became Idris Muhammed)... not forgetting Dapper Dan.

‘Classic Vinyl.’

With Blue Mitchell, Lonnie Smith, Jimmy Ponder and Leo Morris (aka Idris Muhammad) in 1967. Peepin’ steals the show.

‘Blue Note Classics’ series.

‘Classic Vinyl series.’

‘The trio’s sensitive interplay and attention to detail are now unrivalled in jazz… They have developed a naturally cinematic quality that draws on the sense of unease that lurks beneath the everyday’ (Mike Hobart, Financial Times).
It opens with a version of Boubacar Traore’s Baba Drame, and ends resonantly with We Shall Overcome, taking in Bacharach & David and Billy Strayhorn, Monk and Delta Blues along the way.

His heady sophomore Blue Note, from 1969. Elvin Jones and Jimmy Lyons pick up where Ghetto Music left off. Funky grooves injected with a gospel street choir and late-sixties free-form freakery.
‘Classic Vinyl.’

Kicks off with the rollicking samba Soy Califa; then a ravishing, bittersweet ballad.
Key Dexter.
Recorded the same week as Go!, with the same crew, including Sonny Clark on top form throughout.
Don’t miss Don’t Explain.
In the Blue Note 80 Vinyl series.

‘Classic Vinyl’ series.

‘Classic Vinyl.’

‘Classic Vinyl Series.’

From 1963 — with Wendell Marshall (bass), Willie Bobo (drums), Johnny Acea (piano), Carlos ‘Patato’ Valdes (congas), Gavin Masseaux (chekere); and on the last two Ike Quebec and Sonny Clark.

With Joe Henderson, Duke Pearson, Bobby Hutcherson.
The title-track is lengthily, meltingly gorgeous.

With Larry Young, Elvin Jones, and Bobby Hutcherson.

‘Young is exceptional, very much on form, and Hutcherson makes an enormous contribution to a slower-paced and more meditative session than he’d normally favour’ (Penguin Guide to Jazz).
‘Bittersweet and beautiful, Street Of Dreams will be enjoyed by anyone who loves Idle Moments’ (All About Jazz).

‘Best of all his Blue Notes… Quebec is on cracking form here, and his pitch and phrasing on Someday My Prince Will Come should be a lesson to all young jazz players. Green has, for us, his finest hour, ripping though My One And Only Love and If I Should Lose You with a ruggedness of emotion that goes hand and hand with the simplicity of diction. Not a single note is wasted’ (The Penguin Guide To Jazz).

‘Classic Vinyl Series.’

‘Classic Vinyl Series.’