Blue Note Records History




 * Lion first heard jazz as a young boy in Berlin. He settled in 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.
 * Margulis was only briefly involved in Blue Note. At the end of 1939, Lion's childhood friend Francis Wolff caught the last boat out of Nazi-controlled Germany bound for America. Wolff found employment at a photographic studio and joined forces with Lion, producing albums at night to develop Blue Note's recordings of hot jazz and their swingtet phase.
 * Margulis was only briefly involved in Blue Note. At the end of 1939, Lion's childhood friend Francis Wolff caught the last boat out of Nazi-controlled Germany bound for America. Wolff found employment at a photographic studio and joined forces with Lion, producing albums at night to develop Blue Note's recordings of hot jazz and their swingtet phase.


 * The label's first hit was a performance of "Summertime" by saxophonist Sidney Bechet, which Bechet had been unable to record for the established companies.


 * Musicians were supplied with alcoholic refreshments, and often 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.


 * 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.
 * Willing to record artists that most other labels would consider to be uncommercial, in December 1943 the label initiated more sessions with artists such as pianist Art Hodes, trumpeter Sidney DeParis, clarinetist Edmond Hall, and the great Harlem Stride pianist James P. Johnson, who was returning to a high degree of musical activity after having largely recovered from a stroke suffered in 1940.

BeBop

 * Towards the end of the war, saxophonist Ike Quebec was among those who recorded for the label and also their A&R ("Artist and Repertoire") man. Quebec would act as a talent scout for the label until his death in 1963. Although stylistically 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 his first sessions as a leader for the label, which were also 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 pianst Bud Powell.


 * The sessions by Powell, like those his close friend Monk recorded for the label, are commonly ranked among his best. Johnson and trumpeter 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.

Hard Bop

 * In 1951 Blue Note issued their first vinyl 10" releases, 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 group), Milt Jackson (as the leader of what became the Modern Jazz Quartet) and Clifford Brown.

An Attractive Style of Producing

 * An important difference between Blue Note and other independent labels like Prestige Records was that musicians were paid for rehearsal time prior to the recording session; this helped ensure a better end result on the record.
 * Prestige producer Bob Porter once said that "The difference between Blue Note and Prestige is two days rehearsal."[1] Organist Jimmy Smith was signed in 1956, and performed on the label's first 12" LP album of new recordings.
 * Prestige producer Bob Porter once said that "The difference between Blue Note and Prestige is two days rehearsal."[1] Organist Jimmy Smith was signed in 1956, and performed on the label's first 12" LP album of new recordings.

The Van Gelder Sound

 * Engineer 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.
 * In 1952, Alfred Lion heard a Triumph recording that saxophonist-composer Gil Melle had done with engineer Rudy Van Gelder at his parents' home in Hackensack, New Jersey. Van Gelder had a recorded it on a set-up in their living room.
 * Blue Note had always been known for its superior sound and balance, but in Van Gelder, Lion had found an intelligent, kindred soul from whom he could extract an ideal sound.
 * Van Gelder engineered many of the major jazz recordings of the 1950s and [:Category:The 1960s|the 1960s]] for many labels, but at Blue Note he was given more free reign, and his work dovetails with the top-of-the-line recording artists with whom he worked into a sound that had little parallel at other labels, even ones where Van Gelder also worked.
 * By 1954, Blue Note naturally gravitated toward a system that was much akin to a repertory theatre company: A stable of leaders and sidemen mixed and matched on different albums . Leaders often would appear on each other's projects as sidemen, adding to the interest value of the album for fans. Sidemen would be groomed to grow into leaders.
 * The mid to late fifties saw debut recordings for Blue Note by, amongst others, Hank Mobley, Lee Morgan, Herbie Nichols, Sonny Clark, Kenny Dorham, Kenny Burrell, Jackie McLean, Donald Byrd and Lou Donaldson. Sonny Rollins recorded for the label in 1956 and 1957 and Bud Powell briefly returned. John Coltrane's Blue Train, and Cannonball Adderley's Somethin' Else (featuring Miles Davis in one of his last supporting roles) were guest appearances on the label.
 * 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 often 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 saw Dexter Gordon join the label. Gordon was a saxophonist from the BeBop era who had spent several years in prison for narcotic offences, and he made several albums for Blue Note over a five year period, including several at the beginning of his sojourn in Europe.
 * 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 mix of styles.
 * Carter did not actually record under his own name until the label's revival 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 title track of The Sidewinder album, and Horace Silver did the same the following year with Song for My Father. 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 in the United States.
 * 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 often 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 saw Dexter Gordon join the label. Gordon was a saxophonist from the BeBop era who had spent several years in prison for narcotic offences, and he made several albums for Blue Note over a five year period, including several at the beginning of his sojourn in Europe.
 * 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 mix of styles.
 * Carter did not actually record under his own name until the label's revival 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 title track of The Sidewinder album, and Horace Silver did the same the following year with Song for My Father. 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 in the United States.
 * Carter did not actually record under his own name until the label's revival 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 title track of The Sidewinder album, and Horace Silver did the same the following year with Song for My Father. 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 in the United States.
 * In 1963 Lee Morgan scored a significant hit with the title track of The Sidewinder album, and Horace Silver did the same the following year with Song for My Father. 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 in the United States.
 * In 1963 Lee Morgan scored a significant hit with the title track of The Sidewinder album, and Horace Silver did the same the following year with Song for My Father. 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 in the United States.

The Avant Garde

 * Although many of the acts on Blue Note were recording jazz for a wide audience, the label also documented some of the emerging avant-garde and free jazz players.


 * Andrew Hill, a highly individual pianist, made many albums for the label, one featuring multi-instrumentalist Eric Dolphy. Dolphy's Out to Lunch!, featuring a celebrated 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 Denardo Coleman on drums. Pianist Cecil Taylor recorded a brace of albums for Blue Note, and saxophonist Sam Rivers, drummer Tony Williams, 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, whose notable avant-garde albums included 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.