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:
- Bring It Home to Me
- Blues 3 for 1
- Port Rico Rock
Side B:
- Ginger Bread Boy
- Portrait of Jennie
- 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