Lee Morgan (trumpet), Joe Henderson (tenor sax), Ronnie Mathews (piano), Victor Sproles (bass), Billy Higgins (drums).
Japanese one-off CD. The LP is in the Blue Note Classics 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.

The jazz organist’s masterpiece — with Woody Shaw, Joe Henderson and Elvin Jones in 1965.
Young’s playing is steeped in the new thing — especially JC — but pulsating, intense, and sparking with a restless, propulsive creativity which would lead him to collaborations with Jimi Hendrix, Carlos Santana, Bitches-Brew Miles and co, in just a few years time.
Three brilliant compositions by Shaw — including The Moontrane, and an arrangement of Kodaly — a Joe Henderson, a Monk, and Hammerstein and Romberg’s Softly As A Morning Sunrise.

An essential, five-star Blue Note; warm, lyrical and flowing. Adderley was in Miles Davis’ group at this time — over the next year they would record A Kind Of Blue and Milestones — and the trumpeter pays back generously, choosing the tunes, and playing at his very best.

His best, most adventurous LP — reaching but carnivalesque — with George reining in his inner Roland Kirk, Grant Green keeping it real, and underrated organist Billy Gardner pushing the boat out into more unpredictable waters.

‘Blue Note Classics’ series.

Japanese: GXK 8085.

At Hibiya Public Hall on January 14, 1961, with Lee Morgan, Wayne Shorter, Bobby Timmons, and Jymie Merritt, during the Mesengers’ first-ever tour of Japan.
Jet-propelled, soaring performances of jazz staples including Bird’s Now’s the Time and Monk’s Round About Midnight, and Messenger bangers like Blues March, Dat Dere, and Moanin’.
Elaborate booklets feature rare photos by Japanese photographers Shunji Okura and Hozumi Nakadaira; an essay by Bob Blumenthal; plus new interviews with Wayne Shorter in conversation with Blue Note president Don Was, celebrated saxophonist Lou Donaldson, Japanese jazz star Sadao Watanabe, renowned Japanese music critic Reiko Yukawa, Blakey’s son Takashi Blakey, and a trio of drum greats in Louis Hayes, Billy Hart, and Cindy Blackman Santana. Audio was newly transferred from the original ¼” tape reels, and the vinyl edition was mastered by Bernie Grundman and pressed on 180g vinyl at RTI.

‘Classic Vinyl Series.’

Reshapes of classics by Art Blakey, Horace Silver, Hank Mobley, Dexter Gordon, Kenny Burrell, and Eddie Gale, among others — with contributions from vibraphonist Joel Ross, trumpeter Marquis Hill, alto saxophonist Greg Ward, guitarists Matt Gold and Jeff Parker, bassist Junius Paul, and De’Sean Jones on tenor saxophone and flute. 
“When piecing everything together, I wanted to create a narrative that made the listener feel like they were falling into this space or a movement. I was really trying to make a record out of it, not just a series of tracks… The music that we’re making now is part of the same route and is connected, so I want to honor tradition and release something that people can vibe to.”

It’s a Christmas album but fear ye not. It’s from the same six months as How Insensitive and Now Hear This, with Airto running between these sessions and the recording of Bitches Brew. Try the grooving opener, with DP alternating on piano and celeste.