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The alto saxophonist quickly became a fixture on the Blue Note scene after he first played on a \u003cstrong\u003eMilt Jackson\u003c\/strong\u003e date in 1952 with sideman appearance on sessions led by \u003cstrong\u003eThelonious Monk, Art Blakey,\u003c\/strong\u003e and \u003cstrong\u003eJimmy Smith,\u003c\/strong\u003e as well as a co-led date with \u003cstrong\u003eClifford Brown.\u003c\/strong\u003e On Blues Walk, \u003cstrong\u003eDonaldson\u003c\/strong\u003e reconvened the line-up from his 1957 album \u003cem\u003eSwing\u003c\/em\u003e and \u003cem\u003eSoul\u003c\/em\u003e with \u003cstrong\u003eHerman Foster\u003c\/strong\u003e on piano, \u003cstrong\u003ePeck Morrison\u003c\/strong\u003e on bass, \u003cstrong\u003eDave Bailey\u003c\/strong\u003e on drums, and \u003cstrong\u003eRay Barretto\u003c\/strong\u003e on congas. 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Page One opens with a pair of indelible Dorham compositions (“Blue Bossa” and “La Mesha”), with the balance of the 6-song set penned by Henderson including his enduring theme “Recorda-Me.” Dazzling performances by pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca further elevate this album making it one of the crown jewels of the Blue Note catalog.\u003c\/p\u003e\u003cp\u003eThis Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eTracklist:\u003cbr\u003eSide A\u003cbr\u003e\u003c\/strong\u003e1. Blue Bossa\u003cbr\u003e2. La Mesha\u003cbr\u003e3. Homestretch\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. Record-Me\u003cbr\u003e2. Jinrikisha\u003cbr\u003e3. 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In between, \u003cstrong\u003eSilver\u003c\/strong\u003e recorded some of the most beloved albums in the Blue Note catalog, traversing bebop, hard bop, soul jazz, and charting his own path through the 1970s fusion movement. With his 1956 album \u003cem\u003e6 Pieces of Silver\u003c\/em\u003e, \u003cstrong\u003eSilver\u003c\/strong\u003e struck gold with a sterling set of hard bop that introduced one of his greatest compositions, “Señor Blues.” The indelible theme is one of five excellent \u003cstrong\u003eSilver\u003c\/strong\u003e originals (plus the standard “For Heaven’s Sake”) performed by an ace quintet featuring\u003cstrong\u003e Donald Byrd\u003c\/strong\u003e on trumpet,\u003cstrong\u003e Hank Mobley\u003c\/strong\u003e on tenor saxophone, \u003cstrong\u003eDoug Watkins\u003c\/strong\u003e on bass, and \u003cstrong\u003eLouis Hayes\u003c\/strong\u003e on drums. Other highlights include the hard swinging opener “Cool Eyes,” the stunning ballad “Shirl,” the intricate stop-start rhythm of “Camouflage,” and the beguiling Latin beat of “Enchantment.”\u003cbr\u003e\u003cbr\u003eThis Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklist:\u003cbr\u003eSide A\u003c\/strong\u003e\u003cbr\u003e1. Cool Eyes\u003cbr\u003e2. Shirl\u003cbr\u003e3. Camouflage\u003cbr\u003e4. Enchantment\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e1. Senor Blues\u003cbr\u003e2. Virgo\u003cbr\u003e3. 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This time out producer and Blue Note co-founder \u003cstrong\u003eFrancis Wolff\u003c\/strong\u003e put Wilson at the helm of a dynamic quintet with \u003cstrong\u003eLee Morgan\u003c\/strong\u003e on trumpet, \u003cstrong\u003eGeorge Coleman\u003c\/strong\u003e on tenor saxophone, \u003cstrong\u003eGrant Green\u003c\/strong\u003e on guitar, and \u003cstrong\u003eLeo Morris\u003c\/strong\u003e (later known as \u003cstrong\u003eIdris Muhammad\u003c\/strong\u003e) on drums. The result was one of the standout soul jazz dates of the late 60s, a funky six-song set that featured deep-grooved Wilson originals including “Hot Rod,” Back Out,” and the title track “Love Bug” alongside cover versions of some of the biggest R\u0026amp;B hits of the day like \u003cstrong\u003eGamble and Huff’s\u003c\/strong\u003e “I’m Gonna Make You Love Me” (\u003cstrong\u003eDiana Ross \u0026amp; The Supremes and The Temptations\u003c\/strong\u003e), \u003cstrong\u003eBurt\u003c\/strong\u003e \u003cstrong\u003eBacharach and Hal David’s\u003c\/strong\u003e “I Say A Little Prayer” (\u003cstrong\u003eDionne Warwick and Aretha Franklin\u003c\/strong\u003e), and \u003cstrong\u003eIsaac Hayes and David Porter’s\u003c\/strong\u003e “Hold On, I’m Comin’” (\u003cstrong\u003eSam \u0026amp; Dave\u003c\/strong\u003e).\u003cbr\u003e\n\u003cbr\u003e\nThis Blue Note Classic Vinyl Edition is all-analog, mastered by \u003cstrong\u003eKevin Gray\u003c\/strong\u003e from the original master tapes, and pressed on 180g vinyl at Optimal.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e\n\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e\n1. 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The Blue Note founder recorded the B3 innovator as often as he could between 1956-1963 in a range of different settings and released a tremendous run of albums that laid the foundation for the Soul Jazz movement. Drawn from three different sessions recorded in 1958-1959, Home Cookin’ featured Smith in a quartet with tenor saxophonist \u003cstrong\u003ePercy France\u003c\/strong\u003e, guitarist \u003cstrong\u003eKenny Burrell\u003c\/strong\u003e, and drummer \u003cstrong\u003eDonald Bailey\u003c\/strong\u003e, and it stands as one of the most deeply soulful albums Smith ever made. 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Perhaps the only instance on an entire band coming out of Detroit was with \u003cstrong\u003eKenny Cox and The Contemporary Jazz Quintet\u003c\/strong\u003e, a fantastic but unsung combo led by pianist \u003cstrong\u003eKenny Cox\u003c\/strong\u003e which featured Joe Henderson’s brother Leon Henderson on tenor saxophone, \u003cstrong\u003eCharles Moore\u003c\/strong\u003e on trumpet, Ron Brooks on bass, and \u003cstrong\u003eDanny Spencer\u003c\/strong\u003e on drums. The quintet made two excellent albums in the late 1960s including their debut album Introducing\u003cstrong\u003e Kenny Cox and The Contemporary Jazz Quintet\u003c\/strong\u003e, a hidden gem of the Blue Note catalog which was recorded in 1968. The band was certainly influenced by the post-bop explorations of the \u003cstrong\u003eMiles Davis Quintet\u003c\/strong\u003e with \u003cstrong\u003eWayne Shorter\u003c\/strong\u003e, \u003cstrong\u003eHerbie Hancock\u003c\/strong\u003e, \u003cstrong\u003eRon Carter\u003c\/strong\u003e, and \u003cstrong\u003eTony Williams\u003c\/strong\u003e, but the \u003cstrong\u003eCJQ\u003c\/strong\u003e exhibited its own unique sensibilities on memorable originals like “Mystique,” “Trance Dance,” “Diahnn,” and \u003cstrong\u003eDavid Durrah’s\u003c\/strong\u003e beautiful piece “You.”\u003cbr\u003e\n\u003cbr\u003e\nThis Classic Vinyl Edition is all-analog, mastered by \u003cstrong\u003eKevin Gray\u003c\/strong\u003e from the original master tapes, and pressed on 180g vinyl at Optimal.\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e\n\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e\n1. Mystique\u003cbr\u003e\n2. You\u003cbr\u003e\n3. 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Side 2 opens with a 3\u003csup\u003erd\u003c\/sup\u003e Henderson original, the evocation “El Barrio” which opens with Henderson’s plaintive cry. A stunningly gorgeous ballad performance of \u003cstrong\u003eDuke Pearson’s\u003c\/strong\u003e piece “You Know I Care” follows before the album concludes with a brisk, up-tempo dash through the \u003cstrong\u003eCole Porter\u003c\/strong\u003e standard “Night and Day.”\u003c\/p\u003e\n\n\u003cp\u003eThis Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by\u003cstrong\u003e Kevin Gray\u003c\/strong\u003e from the original master tapes, and pressed on 180g vinyl at Optimal.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e\n\u003cstrong\u003eSide A\u003c\/strong\u003e\u003cbr\u003e\n1. Inner Urge\u003cbr\u003e\n2. Isotope\u003cbr\u003e\n\u003cbr\u003e\n\u003cstrong\u003eSide B\u003c\/strong\u003e\u003cbr\u003e\n1. El Barrio\u003cbr\u003e\n2. You Know I Care\u003cbr\u003e\n3. 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His lesser-known 1968 classic Common Touch featured Shirley Scott on organ along with Jimmy Ponder on guitar, Bob Cranshaw on bass, and Leo Morris (aka Idris Muhammad) on drums. 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