Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic
Blue Mitchell – Bring It Home To Me - AudioSoundMusic

Blue Mitchell – Bring It Home To Me

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Trumpet – Blue Mitchell 
[click here to see more vinyl featuring Blue Mitchell]

Tenor Saxophone – Junior Cook

Bass – Gene Taylor

Drums – Billy Higgins

Piano – Harold Mabern Jr.

Written by Blue Mitchell (A2, B3), Jimmy Heath (A1, B1), Tom McIntosh (A3), Gordon Burdge (B2), J. Russel Robinson (B2)

 

1LP, Gatefold jacket printed by Stoughton Printing Co

Original analog Master tape : YES

Heavy Press : 180g

Record color : Black

Speed : 33 RPM

Size : 12'’

Stereo

Studio

Record Press : Record Technology Incorporated

Label : Blue Note Tone Poet Series

Original Label : Blue Note

Recorded at Van Gelder Studio, Englewood Cliffs, on January 6, 1966

Engineered by Rudy Van Gelder

Produced by Alfred Lion

Mastered by Kevin Gray at Cohearent Audio

LP Reissue Supervision by Joe Harley

Lacquer cut by Joe Harley and Kevin Gray at Cohearent Audio

Liner Notes by Ira Gitler

Photography by Francis Wolff

Originally released in March 1967

Reissued in December 2022

 

Tracks:

Side A:

  1. Bring It Home to Me
  2. Blues 3 for 1
  3. Port Rico Rock

Side B:

  1. Ginger Bread Boy
  2. Portrait of Jennie
  3. Blue's Theme

     

    Reviews:

    “From 1958, Blue Mitchell led eight albums for Riverside, mostly with Wynton Kelly on piano, and from 1962, signing to Blue note, where he led a further eight albums for Blue Note including successor Liberty.  A cornerstone of the Horace Silver Quintet, when Horace disbanded the quintet in early 1964,  Blue Mitchell lost no time in stealing bandmates Junior Cook (tenor sax) and Gene Taylor (bass), putting  Al Foster on drums and recruiting a Horace replacement in Chick Corea.  For this quintet session in the closing months of Blue Note before Liberty,  Mitchell brought in Harold Mabern on piano and the mighty Billy Higgins on drums.

    The horn partnership between Mitchell and Cook turned out to be one of the most enduring in all of jazz history. Junior said of Mitchell’s playing,  a “very warm, lyrical and melodic player. He was technically precise, had a beautiful tone and expressive quality like Miles Davis’s, warmth and great feeling.”

    Blue stayed faithful to the jazz idiom, without jumping on the rock or fusion bandwagon. After Liberty, Mitchell went on to record for the Mainstream label, with whom I have had  a very mixed experience, some not great quality engineering. No, I’m being too kind, horrible. 

    After over a decade of touring and big band work, Mitchell’s final ensemble incarnation was the hard-driving Coltranesque Harold Land/ Blue Mitchell Quintet from 1975 to 1978, with whom he recorded the album  Mapenzi (Concord Jazz, 1978,) cinematic jazz, a large canvas soundtrack anticipating world influences, one of my enduring favourite albums of all time. Mitchell’s time was over too soon, age 49, in 1979.

    Mitchell’s  legacy stands somewhat in the shadow of the premier league trumpet voices, Miles Davis, Lee Morgan and Donald Byrd, but he deserves not be overlooked. Aside from his own titles, there are many fine sessions to which he contributed, including the Horace Silver Quintet Blue Notes, Jackie McLean’s Capuchin Swing and Jackie’s Bag, Hank Mobley’s Hi Voltage, Lou Donaldson and Grant Green’s later titles, Blue Mitchell pops up as a reliable swinging and versatile performer. The price of versatliity? Perhaps lacking a distinctive uncompromising, singular voice, needed to pick him out from a crowded field of good trumpet players. But the bonus with Blue is his strong ensemble, and of course, the magic of Van Gelder engineering, which always makes listening a special pleasure, whoever is on the turntable or in the line up.” London Jazz Collector, February 2022

     

    Ratings :

    AllMusic : 4 / 5 ; Discogs : 4.74 / 5



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