This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader", Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed

Check the version....., 05 Jan 2009
At first hearing you think the CD is good. Repeated listening makes you realise it is exceptionally good! Make sure though that you get the post 1997 remastered speed correct version made from the studio backup tape if you want it to do justice on a modern hi fi system - eg the Sony CK 64935 CD. Thoroughly recommend it - not just for Miles Davis but the excellent sensitivity of the accompanying musicians too.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

Many thought that Miles Davis's contributions to Charlie Parker's mid-1940s bebop quintet were insignificant if not disastrous, but his promise became clear on the 1949-50 nonet sides which were collected on LP in 1957 as Birth Of The Cool. If bop's breakneck tempos had caught the young trumpeter unprepared, he flourished in the more relaxed environments of such as "Jeru" and "Israel", maximising the lyricism which became the hallmark of his style. The credit must be shared, however: Miles was part of a group of young experimenters in which Gil Evans, previously noted for his impressionistic arrangements for Claude Thornhill, was a prominent voice. Hence flowing solos from Miles and alto saxophonist Lee Konitz are underpinned by detailed, multi-dimensional writing from Evans, Gerry Mulligan and John Carisi which is more intriguing than the improvisations. Kind Of Blue from 1959 is doubtless a Miles essential, but this set offers a broader sonic experience. The group's nine instruments--unusually for the time including French horn and tuba--are deployed with great craft to create rich, mobile tapestries of tone, texture and harmony. No sound like this had been heard before in jazz, and the rarefied yet vigorous mood it set floated through the collective consciousness of jazz in the ensuing years. There have been several CD editions of these sessions, but this is the first to be drawn from the original 78 tapes rather than the LP master. With transfers by Rudy Van Gelder, the result is a new freshness in music which in some respects still sounds like it could have been written yesterday. --Mark Gilbert

Check the version....., 05 Jan 2009
At first hearing you think the CD is good. Repeated listening makes you realise it is exceptionally good! Make sure though that you get the post 1997 remastered speed correct version made from the studio backup tape if you want it to do justice on a modern hi fi system - eg the Sony CK 64935 CD. Thoroughly recommend it - not just for Miles Davis but the excellent sensitivity of the accompanying musicians too.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

Caution, 15 Jul 2007
I own several of MD's album - my personal favourite being Sketches of Spain. This album, which is rather dull, I made the mistake of buying on the basis of the track Rocker on a compilation. It's dificult to describe, but to me the sound is too undifferenciated to let the melodies and tune speak. It is an ambient album. Pleasant, but doesn't set the blood racing. Instead, buy in A Silent Way, Sketches... or Kind of Blue.....Or better yet by the Best of Blue Note Comp' - not a duff track on it

Not many better starts to jazz than this, 26 Nov 2004
If you're new to jazz, you can easily be swayed away from the genre by stuff that sounds like a tray of dropped cutlery.

This, however, is a sheer joy to listen to - whether dipping a tentative toe into the ocean that is jazz, or if your beard smells of real ale and your favourite chords are augumented thirteenths.

The remarkable consensus amongst critics that this is one of the finest jazz albums made goes to show how strong it is. It is a major achievement that even jazz critics can't be snobbish about this - a groundbreaking record made in 1949 that still sounds fresh.

Buy - you will not be disappointed.

Cool and Blue, 11 Sep 2001
The cool ooozes out of this great Miles classic. Surely, together with Kind of Blue, a must have...

And if you liked this one, check out Gerry Mulligan's "Rebirth of cool"

And a genius is born..., 28 Apr 2001
This is where it all starts, people. You have to hear this stuff. If the only jazz CD you've ever heard of is 'Kind Of Blue', for my money this has a little more bite to it - oooh controversial. Still great though.

Check the version....., 05 Jan 2009
At first hearing you think the CD is good. Repeated listening makes you realise it is exceptionally good! Make sure though that you get the post 1997 remastered speed correct version made from the studio backup tape if you want it to do justice on a modern hi fi system - eg the Sony CK 64935 CD. Thoroughly recommend it - not just for Miles Davis but the excellent sensitivity of the accompanying musicians too.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

Caution, 15 Jul 2007
I own several of MD's album - my personal favourite being Sketches of Spain. This album, which is rather dull, I made the mistake of buying on the basis of the track Rocker on a compilation. It's dificult to describe, but to me the sound is too undifferenciated to let the melodies and tune speak. It is an ambient album. Pleasant, but doesn't set the blood racing. Instead, buy in A Silent Way, Sketches... or Kind of Blue.....Or better yet by the Best of Blue Note Comp' - not a duff track on it

Not many better starts to jazz than this, 26 Nov 2004
If you're new to jazz, you can easily be swayed away from the genre by stuff that sounds like a tray of dropped cutlery.

This, however, is a sheer joy to listen to - whether dipping a tentative toe into the ocean that is jazz, or if your beard smells of real ale and your favourite chords are augumented thirteenths.

The remarkable consensus amongst critics that this is one of the finest jazz albums made goes to show how strong it is. It is a major achievement that even jazz critics can't be snobbish about this - a groundbreaking record made in 1949 that still sounds fresh.

Buy - you will not be disappointed.

Cool and Blue, 11 Sep 2001
The cool ooozes out of this great Miles classic. Surely, together with Kind of Blue, a must have...

And if you liked this one, check out Gerry Mulligan's "Rebirth of cool"

And a genius is born..., 28 Apr 2001
This is where it all starts, people. You have to hear this stuff. If the only jazz CD you've ever heard of is 'Kind Of Blue', for my money this has a little more bite to it - oooh controversial. Still great though.

Defintive Blue Note groove, 05 Dec 2006
"The Sidewinder," is probably Jazz's,"Smells like Teen Spirit." It's undeniably brilliant but it's been so over-exposed, covered and plagiarised down the years that it's genius is no longer instantly apparent. The extended blues track became something of an anchorism for Blue Note, it's a shame because there is some truly wonderful playing on this track, Morgans's ranging trumpet and another set defining performance by Joe Henderson on sax. I prefer to analyse the title track in conjunction with the other brilliant peices of music on this record. You have the hypnotic "Totem Pole," and it's alternate version which somehow manages to be even better. It merges beautifully into the funky,"Gary's Notebook." Higgin's drumwork constantly helps Morgan and Henderson cut the groove. Another favourite of mine is,"Hocus-Pokus," where we see some of Morgan's trumpet trickery. He blew a trumpet like nobody else in my opinion, it's those little flickering sounds he makes before delving into the helter-skelter solos that I love. One of the most interesting things about this album is the drumming. Billy Higgins clearly knew Morgan like the back of his hand and it's his tight sequences that really give the tracks their steady drive and the controlling beat.
"The Sidewinder," isn`t liked by some because of it's commercial success and it did set a fad at Blue Note that lasted far too long. In my opinion Morgan made several other records just as strong as this but if you don't have this record in your collection there's no better way of possibly spending your money than getting your hands on it. Deserves it's legendary status.


A "Cool" Jazz Masterpiece - In the dictionary under Groove., 27 Aug 2005
This album is an absolute must for any Jazz enthusiast, showcasing Lee Morgan at his powerful best. Undoubtedly one of the finest trumpeters in the history of Jazz, Morgan seems barely to break a sweat during the title track, and yet exploits the groove with precision and energy. The musical interplay between Morgan and Joe Henderson on Tenor Sax is superb and seldom matched in any session. Bob Cranshaws' irresistable basslines, and Billy Higgins' powerful backbeat create a momentum that will have your feet tapping helplessly from the first few bars.

After the sublime cool of "The Sidewinder", things get better and better, with every track arguably a masterpiece of the genre. Totem Pole is a superbly constructed piece, proving that Morgan is also a Jazz composer of a high order. "Gary's Notebook" and "Boy, What a Night!" are both upbeat numbers, with more challenging lines, and feature superb solos from Morgan and Henderson. Running through them all is the superb rhythm section, which never fails to groove, and at times takes centre stage - listen to Barry Harris' great piano work on "Totem Pole", and Billy Higgins' relentless beat on "Hocus Pocus".

If you are a Jazz fan and you do not own this album buy it now! If you are not a Jazz fan you will have heard the title track used as mood music on TV or radio - please buy it and listen without any distractions - it will reward your full attention! Be warned though - this album should be labelled with a health warning - "Extremely addictive - may cause excessive listening to Jazz"

The sidewinder - a review, 06 Aug 2005
This is an all time classic sixties Blue Note album that has even found fame in club dancefloor remixes.Leee Morgan was the most technically gifted trumpet player to emerge from the fifties.He cut his chops on hard bop records with Art Blakey but found his niche with what some call "boogaloo".But there is no doubt that this is where the whole soul/jazz movement started when morgan,Herbie Hancock,Donald Byrd and others started to "Funk Up" there music with irregular beats and make them the basis of the whole piece with the horn players soloing over those steady grooves making the music seem instantly "catchy" and familiar.
For the above reason alone this album deserves a place in any jazz fans collection.
Great Stuff

Pure "cool"..., 30 Dec 2003
"The Sidewinder"... 10 minutes 24 seconds of pure "cool" and a stunningly effective example of how to push jazz into mainstream popular music without compromising on technique or virtuosity. Recorded in 1963 - way before "jazz/funk" was invented - Lee Morgan lays down its perfect template by creating an insidious riff that captures & holds the listener's attention while inviting improvisation from a superbly tight band that includes Joe Henderson on sax and the wonderful Bob Cranshaw on bass. So clever that their breaks become an integral part of the driving back-beat that results in that rarest of things: a jazz track that you can actually dance to. Definitive, timeless and, above all, fun.

And the rest?... high quality early 60's jazz: as good as anything around at the time but overwhelmed by the sheer power of the album's opening track.

Sidewinder - to hear it is to love it., 02 Mar 2002
No jazz collection should be without this masterpiece of upbeat cool. Not just great horn blowing from Mr. Morgan, but some of the hottest solo pieces from the rest of the guys too -sax, piano and some unbelievable bass. Definitely in the same groove as Dexter Gordon's "Go" and Cannonball Adderley's "Somethin' Else". The only time I ever called a radio station to get the name of a tune. If you don't start tappin' to the title track, then check your pulse 'coz you're probably dead.

Check the version....., 05 Jan 2009
At first hearing you think the CD is good. Repeated listening makes you realise it is exceptionally good! Make sure though that you get the post 1997 remastered speed correct version made from the studio backup tape if you want it to do justice on a modern hi fi system - eg the Sony CK 64935 CD. Thoroughly recommend it - not just for Miles Davis but the excellent sensitivity of the accompanying musicians too.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

Caution, 15 Jul 2007
I own several of MD's album - my personal favourite being Sketches of Spain. This album, which is rather dull, I made the mistake of buying on the basis of the track Rocker on a compilation. It's dificult to describe, but to me the sound is too undifferenciated to let the melodies and tune speak. It is an ambient album. Pleasant, but doesn't set the blood racing. Instead, buy in A Silent Way, Sketches... or Kind of Blue.....Or better yet by the Best of Blue Note Comp' - not a duff track on it

Not many better starts to jazz than this, 26 Nov 2004
If you're new to jazz, you can easily be swayed away from the genre by stuff that sounds like a tray of dropped cutlery.

This, however, is a sheer joy to listen to - whether dipping a tentative toe into the ocean that is jazz, or if your beard smells of real ale and your favourite chords are augumented thirteenths.

The remarkable consensus amongst critics that this is one of the finest jazz albums made goes to show how strong it is. It is a major achievement that even jazz critics can't be snobbish about this - a groundbreaking record made in 1949 that still sounds fresh.

Buy - you will not be disappointed.

Cool and Blue, 11 Sep 2001
The cool ooozes out of this great Miles classic. Surely, together with Kind of Blue, a must have...

And if you liked this one, check out Gerry Mulligan's "Rebirth of cool"

And a genius is born..., 28 Apr 2001
This is where it all starts, people. You have to hear this stuff. If the only jazz CD you've ever heard of is 'Kind Of Blue', for my money this has a little more bite to it - oooh controversial. Still great though.

Defintive Blue Note groove, 05 Dec 2006
"The Sidewinder," is probably Jazz's,"Smells like Teen Spirit." It's undeniably brilliant but it's been so over-exposed, covered and plagiarised down the years that it's genius is no longer instantly apparent. The extended blues track became something of an anchorism for Blue Note, it's a shame because there is some truly wonderful playing on this track, Morgans's ranging trumpet and another set defining performance by Joe Henderson on sax. I prefer to analyse the title track in conjunction with the other brilliant peices of music on this record. You have the hypnotic "Totem Pole," and it's alternate version which somehow manages to be even better. It merges beautifully into the funky,"Gary's Notebook." Higgin's drumwork constantly helps Morgan and Henderson cut the groove. Another favourite of mine is,"Hocus-Pokus," where we see some of Morgan's trumpet trickery. He blew a trumpet like nobody else in my opinion, it's those little flickering sounds he makes before delving into the helter-skelter solos that I love. One of the most interesting things about this album is the drumming. Billy Higgins clearly knew Morgan like the back of his hand and it's his tight sequences that really give the tracks their steady drive and the controlling beat.
"The Sidewinder," isn`t liked by some because of it's commercial success and it did set a fad at Blue Note that lasted far too long. In my opinion Morgan made several other records just as strong as this but if you don't have this record in your collection there's no better way of possibly spending your money than getting your hands on it. Deserves it's legendary status.


A "Cool" Jazz Masterpiece - In the dictionary under Groove., 27 Aug 2005
This album is an absolute must for any Jazz enthusiast, showcasing Lee Morgan at his powerful best. Undoubtedly one of the finest trumpeters in the history of Jazz, Morgan seems barely to break a sweat during the title track, and yet exploits the groove with precision and energy. The musical interplay between Morgan and Joe Henderson on Tenor Sax is superb and seldom matched in any session. Bob Cranshaws' irresistable basslines, and Billy Higgins' powerful backbeat create a momentum that will have your feet tapping helplessly from the first few bars.

After the sublime cool of "The Sidewinder", things get better and better, with every track arguably a masterpiece of the genre. Totem Pole is a superbly constructed piece, proving that Morgan is also a Jazz composer of a high order. "Gary's Notebook" and "Boy, What a Night!" are both upbeat numbers, with more challenging lines, and feature superb solos from Morgan and Henderson. Running through them all is the superb rhythm section, which never fails to groove, and at times takes centre stage - listen to Barry Harris' great piano work on "Totem Pole", and Billy Higgins' relentless beat on "Hocus Pocus".

If you are a Jazz fan and you do not own this album buy it now! If you are not a Jazz fan you will have heard the title track used as mood music on TV or radio - please buy it and listen without any distractions - it will reward your full attention! Be warned though - this album should be labelled with a health warning - "Extremely addictive - may cause excessive listening to Jazz"

The sidewinder - a review, 06 Aug 2005
This is an all time classic sixties Blue Note album that has even found fame in club dancefloor remixes.Leee Morgan was the most technically gifted trumpet player to emerge from the fifties.He cut his chops on hard bop records with Art Blakey but found his niche with what some call "boogaloo".But there is no doubt that this is where the whole soul/jazz movement started when morgan,Herbie Hancock,Donald Byrd and others started to "Funk Up" there music with irregular beats and make them the basis of the whole piece with the horn players soloing over those steady grooves making the music seem instantly "catchy" and familiar.
For the above reason alone this album deserves a place in any jazz fans collection.
Great Stuff

Pure "cool"..., 30 Dec 2003
"The Sidewinder"... 10 minutes 24 seconds of pure "cool" and a stunningly effective example of how to push jazz into mainstream popular music without compromising on technique or virtuosity. Recorded in 1963 - way before "jazz/funk" was invented - Lee Morgan lays down its perfect template by creating an insidious riff that captures & holds the listener's attention while inviting improvisation from a superbly tight band that includes Joe Henderson on sax and the wonderful Bob Cranshaw on bass. So clever that their breaks become an integral part of the driving back-beat that results in that rarest of things: a jazz track that you can actually dance to. Definitive, timeless and, above all, fun.

And the rest?... high quality early 60's jazz: as good as anything around at the time but overwhelmed by the sheer power of the album's opening track.

Sidewinder - to hear it is to love it., 02 Mar 2002
No jazz collection should be without this masterpiece of upbeat cool. Not just great horn blowing from Mr. Morgan, but some of the hottest solo pieces from the rest of the guys too -sax, piano and some unbelievable bass. Definitely in the same groove as Dexter Gordon's "Go" and Cannonball Adderley's "Somethin' Else". The only time I ever called a radio station to get the name of a tune. If you don't start tappin' to the title track, then check your pulse 'coz you're probably dead.

Sunshine in music form, 02 Jan 2008
I love Herb Alpert. The best known stuff on this album are the likes of the superlatively bouncy Spanish Flea, the sublime A Taste of Honey, the energetic Tijuana Taxi, Tetris theme Zorba the Greek and of course the theme to the original Casino Royale (the one with David Niven) which is so clever it hurts. But there's nothing on this album that doesn't delight.

Mostly it's instrumental, brass band work and very good brass it is. Like a Mariachi band. It's jolly and fun, and it gets me in a good mood and that makes it pretty fab stuff.

Happy Childhood Memories, 10 May 2001
I was delighted to get hold of this album, which I did via Amazon in the U.S.

Playing this Herb Alpert and his hits CD, particularly the sixties inclusions, has brought back much nostalgia and happiness, as his is the sort of music that used to boom out of my mum and dad's tinny transistor radio at home about 30+ years ago when I was a small(very small) child!!

The album is beautifully presented, with reminiscences by Herb on the sleeve notes, about each of the 20 included tracks, and pictures of each HA and Tijuana Brass album they originally came from. Sound quality is first-rate, I assume most of the earlier tunes, being digitally enhanced to suit modern ears?

Like me, I'm sure most Herb Alpert fans will like in particular, the classic 'Mexican Shuffle', 'Tijuana Taxi', 'Spanish Flea', 'A Taste of Honey' and 'Casino Royale' and the beautiful and rare vocalled, by Herb, 'This Guy's in Love with You', written by Bacharach and David and his joint biggest UK hit.

The later stuff on the album is also top class. My favourites including 'Rise' and 'Keep Your Eye on Me' from 1987, one of his last UK hit singles, that also produced a classic video, in the 'Sledgehammer'(Peter Gabriel) special effects mode, that is well worth seeking out. 'Diamonds' his final British hit to-date, has a great vocal by Janet Jackson, and is also included on the album.

Though far from being a really definitive collection, how could it be, from a man who's has been recording for around 40 years?? Herb Alpert's 'Definitive Hits' is complete enough, to give you a real feel of the man and his music. Buy this album if you remember him and enjoyed his music first-time-around. If not, still buy it, and get to know the wonderful instrumentals he and his band produced throughout the 1960's, the odd classic vocal number too, and see how the man evolved with the times, to produce some great late-seventies and eighties dance music.

We have waited so long ... Herb Alpert has been forgotten., 20 Apr 2001
Wow! At long last a new Herb Alpert CD back in the shops. I have searched half the world's record shops for anything other than a bargain bin copy of Titjuana Brass, and it's sad to report that most record shops these days have a whole new generation of staff that have never even heard of the man. This new "Greatest Hits" album goes a long way to make up for Herb Alpert's now sadly long deleted back catalogue; it's just a shame it doesn't offer more. Surely a 2cd or 4cd set would have done us proud? Most of the album concentrates on the old brassy lounge/lift music period, which is fine if you're that way inclined, but once the strains of "Rise" and "Rotation" come up you want to cry out loud: "Herb Alpert, where the hell are you now?" Please come back! This could have been a great album with a longer tracklisting, but even as it is it's still as welcome as breath of fresh air.

Once Chet Baker arrived in California from his native Oklahoma, his career exploded. After landing gigs with Charlie Parker and Gerry Mulligan, Baker soon found himself a solo star and bandleader. Not long after that, he also found himself whispering love songs into a microphone. Baker was not gifted with the most robust voice of the day. Indeed, listening to pure singers like Nat King Cole or Johnny Hartman can expose Baker's weaknesses, but what Baker did he did well. By choosing wistful, so-young, so-in-love tunes, Baker was able to pour his heart into the material, sketching soft, romantic moods and painting himself as the broken-hearted innocent. The effect can be devastating, as Baker's voice clings to the melody, threatening to disintegrate at any moment. Many of his best tunes--"I Fall in Love Too Easily", "But Not for Me", "Let's Get Lost"--are collected here, and, as such, there is no better place to begin an appreciation of Baker's unique singing. --S. Duda

Check the version....., 05 Jan 2009
At first hearing you think the CD is good. Repeated listening makes you realise it is exceptionally good! Make sure though that you get the post 1997 remastered speed correct version made from the studio backup tape if you want it to do justice on a modern hi fi system - eg the Sony CK 64935 CD. Thoroughly recommend it - not just for Miles Davis but the excellent sensitivity of the accompanying musicians too.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

Caution, 15 Jul 2007
I own several of MD's album - my personal favourite being Sketches of Spain. This album, which is rather dull, I made the mistake of buying on the basis of the track Rocker on a compilation. It's dificult to describe, but to me the sound is too undifferenciated to let the melodies and tune speak. It is an ambient album. Pleasant, but doesn't set the blood racing. Instead, buy in A Silent Way, Sketches... or Kind of Blue.....Or better yet by the Best of Blue Note Comp' - not a duff track on it

Not many better starts to jazz than this, 26 Nov 2004
If you're new to jazz, you can easily be swayed away from the genre by stuff that sounds like a tray of dropped cutlery.

This, however, is a sheer joy to listen to - whether dipping a tentative toe into the ocean that is jazz, or if your beard smells of real ale and your favourite chords are augumented thirteenths.

The remarkable consensus amongst critics that this is one of the finest jazz albums made goes to show how strong it is. It is a major achievement that even jazz critics can't be snobbish about this - a groundbreaking record made in 1949 that still sounds fresh.

Buy - you will not be disappointed.

Cool and Blue, 11 Sep 2001
The cool ooozes out of this great Miles classic. Surely, together with Kind of Blue, a must have...

And if you liked this one, check out Gerry Mulligan's "Rebirth of cool"

And a genius is born..., 28 Apr 2001
This is where it all starts, people. You have to hear this stuff. If the only jazz CD you've ever heard of is 'Kind Of Blue', for my money this has a little more bite to it - oooh controversial. Still great though.

Defintive Blue Note groove, 05 Dec 2006
"The Sidewinder," is probably Jazz's,"Smells like Teen Spirit." It's undeniably brilliant but it's been so over-exposed, covered and plagiarised down the years that it's genius is no longer instantly apparent. The extended blues track became something of an anchorism for Blue Note, it's a shame because there is some truly wonderful playing on this track, Morgans's ranging trumpet and another set defining performance by Joe Henderson on sax. I prefer to analyse the title track in conjunction with the other brilliant peices of music on this record. You have the hypnotic "Totem Pole," and it's alternate version which somehow manages to be even better. It merges beautifully into the funky,"Gary's Notebook." Higgin's drumwork constantly helps Morgan and Henderson cut the groove. Another favourite of mine is,"Hocus-Pokus," where we see some of Morgan's trumpet trickery. He blew a trumpet like nobody else in my opinion, it's those little flickering sounds he makes before delving into the helter-skelter solos that I love. One of the most interesting things about this album is the drumming. Billy Higgins clearly knew Morgan like the back of his hand and it's his tight sequences that really give the tracks their steady drive and the controlling beat.
"The Sidewinder," isn`t liked by some because of it's commercial success and it did set a fad at Blue Note that lasted far too long. In my opinion Morgan made several other records just as strong as this but if you don't have this record in your collection there's no better way of possibly spending your money than getting your hands on it. Deserves it's legendary status.


A "Cool" Jazz Masterpiece - In the dictionary under Groove., 27 Aug 2005
This album is an absolute must for any Jazz enthusiast, showcasing Lee Morgan at his powerful best. Undoubtedly one of the finest trumpeters in the history of Jazz, Morgan seems barely to break a sweat during the title track, and yet exploits the groove with precision and energy. The musical interplay between Morgan and Joe Henderson on Tenor Sax is superb and seldom matched in any session. Bob Cranshaws' irresistable basslines, and Billy Higgins' powerful backbeat create a momentum that will have your feet tapping helplessly from the first few bars.

After the sublime cool of "The Sidewinder", things get better and better, with every track arguably a masterpiece of the genre. Totem Pole is a superbly constructed piece, proving that Morgan is also a Jazz composer of a high order. "Gary's Notebook" and "Boy, What a Night!" are both upbeat numbers, with more challenging lines, and feature superb solos from Morgan and Henderson. Running through them all is the superb rhythm section, which never fails to groove, and at times takes centre stage - listen to Barry Harris' great piano work on "Totem Pole", and Billy Higgins' relentless beat on "Hocus Pocus".

If you are a Jazz fan and you do not own this album buy it now! If you are not a Jazz fan you will have heard the title track used as mood music on TV or radio - please buy it and listen without any distractions - it will reward your full attention! Be warned though - this album should be labelled with a health warning - "Extremely addictive - may cause excessive listening to Jazz"

The sidewinder - a review, 06 Aug 2005
This is an all time classic sixties Blue Note album that has even found fame in club dancefloor remixes.Leee Morgan was the most technically gifted trumpet player to emerge from the fifties.He cut his chops on hard bop records with Art Blakey but found his niche with what some call "boogaloo".But there is no doubt that this is where the whole soul/jazz movement started when morgan,Herbie Hancock,Donald Byrd and others started to "Funk Up" there music with irregular beats and make them the basis of the whole piece with the horn players soloing over those steady grooves making the music seem instantly "catchy" and familiar.
For the above reason alone this album deserves a place in any jazz fans collection.
Great Stuff

Pure "cool"..., 30 Dec 2003
"The Sidewinder"... 10 minutes 24 seconds of pure "cool" and a stunningly effective example of how to push jazz into mainstream popular music without compromising on technique or virtuosity. Recorded in 1963 - way before "jazz/funk" was invented - Lee Morgan lays down its perfect template by creating an insidious riff that captures & holds the listener's attention while inviting improvisation from a superbly tight band that includes Joe Henderson on sax and the wonderful Bob Cranshaw on bass. So clever that their breaks become an integral part of the driving back-beat that results in that rarest of things: a jazz track that you can actually dance to. Definitive, timeless and, above all, fun.

And the rest?... high quality early 60's jazz: as good as anything around at the time but overwhelmed by the sheer power of the album's opening track.

Sidewinder - to hear it is to love it., 02 Mar 2002
No jazz collection should be without this masterpiece of upbeat cool. Not just great horn blowing from Mr. Morgan, but some of the hottest solo pieces from the rest of the guys too -sax, piano and some unbelievable bass. Definitely in the same groove as Dexter Gordon's "Go" and Cannonball Adderley's "Somethin' Else". The only time I ever called a radio station to get the name of a tune. If you don't start tappin' to the title track, then check your pulse 'coz you're probably dead.

Sunshine in music form, 02 Jan 2008
I love Herb Alpert. The best known stuff on this album are the likes of the superlatively bouncy Spanish Flea, the sublime A Taste of Honey, the energetic Tijuana Taxi, Tetris theme Zorba the Greek and of course the theme to the original Casino Royale (the one with David Niven) which is so clever it hurts. But there's nothing on this album that doesn't delight.

Mostly it's instrumental, brass band work and very good brass it is. Like a Mariachi band. It's jolly and fun, and it gets me in a good mood and that makes it pretty fab stuff.

Happy Childhood Memories, 10 May 2001
I was delighted to get hold of this album, which I did via Amazon in the U.S.

Playing this Herb Alpert and his hits CD, particularly the sixties inclusions, has brought back much nostalgia and happiness, as his is the sort of music that used to boom out of my mum and dad's tinny transistor radio at home about 30+ years ago when I was a small(very small) child!!

The album is beautifully presented, with reminiscences by Herb on the sleeve notes, about each of the 20 included tracks, and pictures of each HA and Tijuana Brass album they originally came from. Sound quality is first-rate, I assume most of the earlier tunes, being digitally enhanced to suit modern ears?

Like me, I'm sure most Herb Alpert fans will like in particular, the classic 'Mexican Shuffle', 'Tijuana Taxi', 'Spanish Flea', 'A Taste of Honey' and 'Casino Royale' and the beautiful and rare vocalled, by Herb, 'This Guy's in Love with You', written by Bacharach and David and his joint biggest UK hit.

The later stuff on the album is also top class. My favourites including 'Rise' and 'Keep Your Eye on Me' from 1987, one of his last UK hit singles, that also produced a classic video, in the 'Sledgehammer'(Peter Gabriel) special effects mode, that is well worth seeking out. 'Diamonds' his final British hit to-date, has a great vocal by Janet Jackson, and is also included on the album.

Though far from being a really definitive collection, how could it be, from a man who's has been recording for around 40 years?? Herb Alpert's 'Definitive Hits' is complete enough, to give you a real feel of the man and his music. Buy this album if you remember him and enjoyed his music first-time-around. If not, still buy it, and get to know the wonderful instrumentals he and his band produced throughout the 1960's, the odd classic vocal number too, and see how the man evolved with the times, to produce some great late-seventies and eighties dance music.

We have waited so long ... Herb Alpert has been forgotten., 20 Apr 2001
Wow! At long last a new Herb Alpert CD back in the shops. I have searched half the world's record shops for anything other than a bargain bin copy of Titjuana Brass, and it's sad to report that most record shops these days have a whole new generation of staff that have never even heard of the man. This new "Greatest Hits" album goes a long way to make up for Herb Alpert's now sadly long deleted back catalogue; it's just a shame it doesn't offer more. Surely a 2cd or 4cd set would have done us proud? Most of the album concentrates on the old brassy lounge/lift music period, which is fine if you're that way inclined, but once the strains of "Rise" and "Rotation" come up you want to cry out loud: "Herb Alpert, where the hell are you now?" Please come back! This could have been a great album with a longer tracklisting, but even as it is it's still as welcome as breath of fresh air.

Lots of lovely vocals to chill out to, 10 Dec 2007
A lovely introduction to Chet. But often with "best of" albums there is a lot of good music all crammed onto 1 cd, but I'm not complaining. I'm happy to have it in my Chet collection.

FIVE STARS IS TOO LITTLE FOR THIS RECORD!!!, 06 Jul 2007
Aside from Francis Albert (the one and only), Chet Baker is, by far, the most "honest" singer ever! He does not tell you lies. As Sinatra, he transpire sincerety, when singing: you believe him, you believe his feelings and his hurting... And, again, as Sinatra, he has a marvelous timing, a beautiful phrasing and an impecable good taste. And - here is finally an advantage, when compared to Sinatra - he also blows his horn wonderfully, with that simple, clear, full, honest sound of one that does not have to do any fancy trick to reach your heart and your imagination.
Again, five stars is too little for this record!!!

Enjoy, 11 Mar 2006
Great album from a great trumpeter and sweet singer. He always reminds me of Mel Torme. The songs which have been chosen for this cd could not be better. Well worth listening to and will leave you wanting more

It'll make the hairs stand up on the back of your neck!, 21 Nov 2004
Chet Baker is one of the Jazz worlds most earnest and touching symbols, and this CD is a fantastic collection of his material. The recordings are digitally-beautified without being made glossy or 'produced' sounding. Particular trakcs to look out for are 'My Funny Valentine', 'Find the Silver Lining', 'Lets Get Lost' and The Thrill is Gone'. Chet's voice is smooth, calm, innocent, wise, supremely joyful and heart-breakingly sad all at the same time; One of my favourite voices of all time, and his trumpet playing is wonderfully complimentary to his voice, displaying the same smoothness and ease. This is music that does far more than just relax you - it will move you and touch you deeply. If you are new to Chet then this makes an ideal introduction. If like me you are a long-term fan this is a tip-top collection that is for the most part well selected - however the omission of 'Deep in A Dream' is regretable!

Chet Baker plays his trumpet BEST, 16 Jan 2001
I really love the lazy sound of a muted trumpet. Chet Baker was a great artist, and his sleepy voice makes you feel really comfortable. This is a treasure.

Check the version....., 05 Jan 2009
At first hearing you think the CD is good. Repeated listening makes you realise it is exceptionally good! Make sure though that you get the post 1997 remastered speed correct version made from the studio backup tape if you want it to do justice on a modern hi fi system - eg the Sony CK 64935 CD. Thoroughly recommend it - not just for Miles Davis but the excellent sensitivity of the accompanying musicians too.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

Caution, 15 Jul 2007
I own several of MD's album - my personal favourite being Sketches of Spain. This album, which is rather dull, I made the mistake of buying on the basis of the track Rocker on a compilation. It's dificult to describe, but to me the sound is too undifferenciated to let the melodies and tune speak. It is an ambient album. Pleasant, but doesn't set the blood racing. Instead, buy in A Silent Way, Sketches... or Kind of Blue.....Or better yet by the Best of Blue Note Comp' - not a duff track on it

Not many better starts to jazz than this, 26 Nov 2004
If you're new to jazz, you can easily be swayed away from the genre by stuff that sounds like a tray of dropped cutlery.

This, however, is a sheer joy to listen to - whether dipping a tentative toe into the ocean that is jazz, or if your beard smells of real ale and your favourite chords are augumented thirteenths.

The remarkable consensus amongst critics that this is one of the finest jazz albums made goes to show how strong it is. It is a major achievement that even jazz critics can't be snobbish about this - a groundbreaking record made in 1949 that still sounds fresh.

Buy - you will not be disappointed.

Cool and Blue, 11 Sep 2001
The cool ooozes out of this great Miles classic. Surely, together with Kind of Blue, a must have...

And if you liked this one, check out Gerry Mulligan's "Rebirth of cool"

And a genius is born..., 28 Apr 2001
This is where it all starts, people. You have to hear this stuff. If the only jazz CD you've ever heard of is 'Kind Of Blue', for my money this has a little more bite to it - oooh controversial. Still great though.

Defintive Blue Note groove, 05 Dec 2006
"The Sidewinder," is probably Jazz's,"Smells like Teen Spirit." It's undeniably brilliant but it's been so over-exposed, covered and plagiarised down the years that it's genius is no longer instantly apparent. The extended blues track became something of an anchorism for Blue Note, it's a shame because there is some truly wonderful playing on this track, Morgans's ranging trumpet and another set defining performance by Joe Henderson on sax. I prefer to analyse the title track in conjunction with the other brilliant peices of music on this record. You have the hypnotic "Totem Pole," and it's alternate version which somehow manages to be even better. It merges beautifully into the funky,"Gary's Notebook." Higgin's drumwork constantly helps Morgan and Henderson cut the groove. Another favourite of mine is,"Hocus-Pokus," where we see some of Morgan's trumpet trickery. He blew a trumpet like nobody else in my opinion, it's those little flickering sounds he makes before delving into the helter-skelter solos that I love. One of the most interesting things about this album is the drumming. Billy Higgins clearly knew Morgan like the back of his hand and it's his tight sequences that really give the tracks their steady drive and the controlling beat.
"The Sidewinder," isn`t liked by some because of it's commercial success and it did set a fad at Blue Note that lasted far too long. In my opinion Morgan made several other records just as strong as this but if you don't have this record in your collection there's no better way of possibly spending your money than getting your hands on it. Deserves it's legendary status.


A "Cool" Jazz Masterpiece - In the dictionary under Groove., 27 Aug 2005
This album is an absolute must for any Jazz enthusiast, showcasing Lee Morgan at his powerful best. Undoubtedly one of the finest trumpeters in the history of Jazz, Morgan seems barely to break a sweat during the title track, and yet exploits the groove with precision and energy. The musical interplay between Morgan and Joe Henderson on Tenor Sax is superb and seldom matched in any session. Bob Cranshaws' irresistable basslines, and Billy Higgins' powerful backbeat create a momentum that will have your feet tapping helplessly from the first few bars.

After the sublime cool of "The Sidewinder", things get better and better, with every track arguably a masterpiece of the genre. Totem Pole is a superbly constructed piece, proving that Morgan is also a Jazz composer of a high order. "Gary's Notebook" and "Boy, What a Night!" are both upbeat numbers, with more challenging lines, and feature superb solos from Morgan and Henderson. Running through them all is the superb rhythm section, which never fails to groove, and at times takes centre stage - listen to Barry Harris' great piano work on "Totem Pole", and Billy Higgins' relentless beat on "Hocus Pocus".

If you are a Jazz fan and you do not own this album buy it now! If you are not a Jazz fan you will have heard the title track used as mood music on TV or radio - please buy it and listen without any distractions - it will reward your full attention! Be warned though - this album should be labelled with a health warning - "Extremely addictive - may cause excessive listening to Jazz"

The sidewinder - a review, 06 Aug 2005
This is an all time classic sixties Blue Note album that has even found fame in club dancefloor remixes.Leee Morgan was the most technically gifted trumpet player to emerge from the fifties.He cut his chops on hard bop records with Art Blakey but found his niche with what some call "boogaloo".But there is no doubt that this is where the whole soul/jazz movement started when morgan,Herbie Hancock,Donald Byrd and others started to "Funk Up" there music with irregular beats and make them the basis of the whole piece with the horn players soloing over those steady grooves making the music seem instantly "catchy" and familiar.
For the above reason alone this album deserves a place in any jazz fans collection.
Great Stuff

Pure "cool"..., 30 Dec 2003
"The Sidewinder"... 10 minutes 24 seconds of pure "cool" and a stunningly effective example of how to push jazz into mainstream popular music without compromising on technique or virtuosity. Recorded in 1963 - way before "jazz/funk" was invented - Lee Morgan lays down its perfect template by creating an insidious riff that captures & holds the listener's attention while inviting improvisation from a superbly tight band that includes Joe Henderson on sax and the wonderful Bob Cranshaw on bass. So clever that their breaks become an integral part of the driving back-beat that results in that rarest of things: a jazz track that you can actually dance to. Definitive, timeless and, above all, fun.

And the rest?... high quality early 60's jazz: as good as anything around at the time but overwhelmed by the sheer power of the album's opening track.

Sidewinder - to hear it is to love it., 02 Mar 2002
No jazz collection should be without this masterpiece of upbeat cool. Not just great horn blowing from Mr. Morgan, but some of the hottest solo pieces from the rest of the guys too -sax, piano and some unbelievable bass. Definitely in the same groove as Dexter Gordon's "Go" and Cannonball Adderley's "Somethin' Else". The only time I ever called a radio station to get the name of a tune. If you don't start tappin' to the title track, then check your pulse 'coz you're probably dead.

Sunshine in music form, 02 Jan 2008
I love Herb Alpert. The best known stuff on this album are the likes of the superlatively bouncy Spanish Flea, the sublime A Taste of Honey, the energetic Tijuana Taxi, Tetris theme Zorba the Greek and of course the theme to the original Casino Royale (the one with David Niven) which is so clever it hurts. But there's nothing on this album that doesn't delight.

Mostly it's instrumental, brass band work and very good brass it is. Like a Mariachi band. It's jolly and fun, and it gets me in a good mood and that makes it pretty fab stuff.

Happy Childhood Memories, 10 May 2001
I was delighted to get hold of this album, which I did via Amazon in the U.S.

Playing this Herb Alpert and his hits CD, particularly the sixties inclusions, has brought back much nostalgia and happiness, as his is the sort of music that used to boom out of my mum and dad's tinny transistor radio at home about 30+ years ago when I was a small(very small) child!!

The album is beautifully presented, with reminiscences by Herb on the sleeve notes, about each of the 20 included tracks, and pictures of each HA and Tijuana Brass album they originally came from. Sound quality is first-rate, I assume most of the earlier tunes, being digitally enhanced to suit modern ears?

Like me, I'm sure most Herb Alpert fans will like in particular, the classic 'Mexican Shuffle', 'Tijuana Taxi', 'Spanish Flea', 'A Taste of Honey' and 'Casino Royale' and the beautiful and rare vocalled, by Herb, 'This Guy's in Love with You', written by Bacharach and David and his joint biggest UK hit.

The later stuff on the album is also top class. My favourites including 'Rise' and 'Keep Your Eye on Me' from 1987, one of his last UK hit singles, that also produced a classic video, in the 'Sledgehammer'(Peter Gabriel) special effects mode, that is well worth seeking out. 'Diamonds' his final British hit to-date, has a great vocal by Janet Jackson, and is also included on the album.

Though far from being a really definitive collection, how could it be, from a man who's has been recording for around 40 years?? Herb Alpert's 'Definitive Hits' is complete enough, to give you a real feel of the man and his music. Buy this album if you remember him and enjoyed his music first-time-around. If not, still buy it, and get to know the wonderful instrumentals he and his band produced throughout the 1960's, the odd classic vocal number too, and see how the man evolved with the times, to produce some great late-seventies and eighties dance music.

We have waited so long ... Herb Alpert has been forgotten., 20 Apr 2001
Wow! At long last a new Herb Alpert CD back in the shops. I have searched half the world's record shops for anything other than a bargain bin copy of Titjuana Brass, and it's sad to report that most record shops these days have a whole new generation of staff that have never even heard of the man. This new "Greatest Hits" album goes a long way to make up for Herb Alpert's now sadly long deleted back catalogue; it's just a shame it doesn't offer more. Surely a 2cd or 4cd set would have done us proud? Most of the album concentrates on the old brassy lounge/lift music period, which is fine if you're that way inclined, but once the strains of "Rise" and "Rotation" come up you want to cry out loud: "Herb Alpert, where the hell are you now?" Please come back! This could have been a great album with a longer tracklisting, but even as it is it's still as welcome as breath of fresh air.

Lots of lovely vocals to chill out to, 10 Dec 2007
A lovely introduction to Chet. But often with "best of" albums there is a lot of good music all crammed onto 1 cd, but I'm not complaining. I'm happy to have it in my Chet collection.

FIVE STARS IS TOO LITTLE FOR THIS RECORD!!!, 06 Jul 2007
Aside from Francis Albert (the one and only), Chet Baker is, by far, the most "honest" singer ever! He does not tell you lies. As Sinatra, he transpire sincerety, when singing: you believe him, you believe his feelings and his hurting... And, again, as Sinatra, he has a marvelous timing, a beautiful phrasing and an impecable good taste. And - here is finally an advantage, when compared to Sinatra - he also blows his horn wonderfully, with that simple, clear, full, honest sound of one that does not have to do any fancy trick to reach your heart and your imagination.
Again, five stars is too little for this record!!!

Enjoy, 11 Mar 2006
Great album from a great trumpeter and sweet singer. He always reminds me of Mel Torme. The songs which have been chosen for this cd could not be better. Well worth listening to and will leave you wanting more

It'll make the hairs stand up on the back of your neck!, 21 Nov 2004
Chet Baker is one of the Jazz worlds most earnest and touching symbols, and this CD is a fantastic collection of his material. The recordings are digitally-beautified without being made glossy or 'produced' sounding. Particular trakcs to look out for are 'My Funny Valentine', 'Find the Silver Lining', 'Lets Get Lost' and The Thrill is Gone'. Chet's voice is smooth, calm, innocent, wise, supremely joyful and heart-breakingly sad all at the same time; One of my favourite voices of all time, and his trumpet playing is wonderfully complimentary to his voice, displaying the same smoothness and ease. This is music that does far more than just relax you - it will move you and touch you deeply. If you are new to Chet then this makes an ideal introduction. If like me you are a long-term fan this is a tip-top collection that is for the most part well selected - however the omission of 'Deep in A Dream' is regretable!

Chet Baker plays his trumpet BEST, 16 Jan 2001
I really love the lazy sound of a muted trumpet. Chet Baker was a great artist, and his sleepy voice makes you feel really comfortable. This is a treasure.

Kenny Ball? What does he call the other one?, 19 Aug 2006
Some of the tunes on this are nearly fifty years old and they are still swinging. Wow, he may not be considered the coolest artist on the planet...but Kenny's got Balls!!!!!

Have a ball with Kenny, 28 Nov 2003
Kenny Ball, along with his mates and rivals Acker Bilk and Chris Barber, brought trad jazz to the British public conscience in the 1960s. Kenny's forte was to give the treatment, with tongue firmly in cheek (difficult when playing the trumpet!), to all sorts of popular songs of the time. Nothing was sacred - Cole Porter, Mozart, The Beatles, Walt Disney - and as a consequence his band was a regular in the Top 20 charts.

This collection contains all the hits, all original recordings and sounding amazingly sprightly for their age. The music has no pretentions, just to have fun and sound good - you may find yourself whistling or singing along to some of them.

Recorded in 1960, Freddie Hubbard's Open Sesame is not only a very good CD: it dramatises history in the making. The trumpeter was not unknown then, but he was still in his early years; so was pianist McCoy Tyner, for whom a momentous association with John Coltrane was just around the corner. Indeed, the best-known musician at the time of recording was bassist Sam Jones, and while he went on to bigger things with Cannonball Adderley and then Oscar Peterson, it was Hubbard and Tyner who would emerge as unambiguously major figures. That by rights should also have characterised tenorist Tina Brooks, but this superb player (his work on "But Beautiful" here is exquisite) never got the recognition he deserved, dying almost forgotten in 1974 at the age of 42. Further highlights include the leader's "Hub's Nub" and the two takes apiece of the title track and "Gypsy Blue", both excellent compositions by Brooks. Mention should also be made of drummer Clifford Jarvis, a young lion steeped in Blakey, and of Rudy Van Gelder's predictably flawless engineering. The music both invigorates and enchants, and its reappearance, handsomely packaged, is most welcome. --Richard Palmer

Check the version....., 05 Jan 2009
At first hearing you think the CD is good. Repeated listening makes you realise it is exceptionally good! Make sure though that you get the post 1997 remastered speed correct version made from the studio backup tape if you want it to do justice on a modern hi fi system - eg the Sony CK 64935 CD. Thoroughly recommend it - not just for Miles Davis but the excellent sensitivity of the accompanying musicians too.

Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz!, 21 Nov 2008
It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along?

Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener.

Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying.

Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue.

Art Blakey & The Jazz Messengers - Moanin'
Horace Silver - Blowin' The Blues Away
Sonny Clark - Cool Struttin'
Lou Donaldson - Gravy Train
Gil Evans - The Complete Pacific Jazz Sessions
Bennie Green - Soul Stirrin'

My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles.

Before he went funny, 07 Nov 2008
I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was taking.

However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work.

Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best?
Such comparisons are pointless as well as impossible. Just enjoy it for what it is.


Modal Jazz begginings, 29 Sep 2008
Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes.
That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster.
The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments.
I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too.

The Master, 12 Sep 2008
Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax.

Caution, 15 Jul 2007
I own several of MD's album - my personal favourite being Sketches of Spain. This album, which is rather dull, I made the mistake of buying on the basis of the track Rocker on a compilation. It's dificult to describe, but to me the sound is too undifferenciated to let the melodies and tune speak. It is an ambient album. Pleasant, but doesn't set the blood racing. Instead, buy in A Silent Way, Sketches... or Kind of Blue.....Or better yet by the Best of Blue Note Comp' - not a duff track on it

Not many better starts to jazz than this, 26 Nov 2004
If you're new to jazz, you can easily be swayed away from the genre by stuff that sounds like a tray of dropped cutlery.

This, however, is a sheer joy to listen to - whether dipping a tentative toe into the ocean that is jazz, or if your beard smells of real ale and your favourite chords are augumented thirteenths.

The remarkable consensus amongst critics that this is one of the finest jazz albums made goes to show how strong it is. It is a major achievement that even jazz critics can't be snobbish about this - a groundbreaking record made in 1949 that still sounds fresh.

Buy - you will not be disappointed.

Cool and Blue, 11 Sep 2001
The cool ooozes out of this great Miles classic. Surely, together with Kind of Blue, a must have...

And if you liked this one, check out Gerry Mulligan's "Rebirth of cool"

And a genius is born..., 28 Apr 2001
This is where it all starts, people. You have to hear this stuff. If the only jazz CD you've ever heard of is 'Kind Of Blue', for my money this has a little more bite to it - oooh controversial. Still great though.

Defintive Blue Note groove, 05 Dec 2006
"The Sidewinder," is probably Jazz's,"Smells like Teen Spirit." It's undeniably brilliant but it's been so over-exposed, covered and plagiarised down the years that it's genius is no longer instantly apparent. The extended blues track became something of an anchorism for Blue Note, it's a shame because there is some truly wonderful playing on this track, Morgans's ranging trumpet and another set defining performance by Joe Henderson on sax. I prefer to analyse the title track in conjunction with the other brilliant peices of music on this record. You have the hypnotic "Totem Pole," and it's alternate version which somehow manages to be even better. It merges beautifully into the funky,"Gary's Notebook." Higgin's drumwork constantly helps Morgan and Henderson cut the groove. Another favourite of mine is,"Hocus-Pokus," where we see some of Morgan's trumpet trickery. He blew a trumpet like nobody else in my opinion, it's those little flickering sounds he makes before delving into the helter-skelter solos that I love. One of the most interesting things about this album is the drumming. Billy Higgins clearly knew Morgan like the back of his hand and it's his tight sequences that really give the tracks their steady drive and the controlling beat.
"The Sidewinder," isn`t liked by some because of it's commercial success and it did set a fad at Blue Note that lasted far too long. In my opinion Morgan made several other records just as strong as this but if you don't have this record in your collection there's no better way of possibly spending your money than getting your hands on it. Deserves it's legendary status.


A "Cool" Jazz Masterpiece - In the dictionary under Groove., 27 Aug 2005
This album is an absolute must for any Jazz enthusiast, showcasing Lee Morgan at his powerful best. Undoubtedly one of the finest trumpeters in the history of Jazz, Morgan seems barely to break a sweat during the title track, and yet exploits the groove with precision and energy. The musical interplay between Morgan and Joe Henderson on Tenor Sax is superb and seldom matched in any session. Bob Cranshaws' irresistable basslines, and Billy Higgins' powerful backbeat create a momentum that will have your feet tapping helplessly from the first few bars.

After the sublime cool of "The Sidewinder", things get better and better, with every track arguably a masterpiece of the genre. Totem Pole is a superbly constructed piece, proving that Morgan is also a Jazz composer of a high order. "Gary's Notebook" and "Boy, What a Night!" are both upbeat numbers, with more challenging lines, and feature superb solos from Morgan and Henderson. Running through them all is the superb rhythm section, which never fails to groove, and at times takes centre stage - listen to Barry Harris' great piano work on "Totem Pole", and Billy Higgins' relentless beat on "Hocus Pocus".

If you are a Jazz fan and you do not own this album buy it now! If you are not a Jazz fan you will have heard the title track used as mood music on TV or radio - please buy it and listen without any distractions - it will reward your full attention! Be warned though - this album should be labelled with a health warning - "Extremely addictive - may cause excessive listening to Jazz"

The sidewinder - a review, 06 Aug 2005
This is an all time classic sixties Blue Note album that has even found fame in club dancefloor remixes.Leee Morgan was the most technically gifted trumpet player to emerge from the fifties.He cut his chops on hard bop records with Art Blakey but found his niche with what some call "boogaloo".But there is no doubt that this is where the whole soul/jazz movement started when morgan,Herbie Hancock,Donald Byrd and others started to "Funk Up" there music with irregular beats and make them the basis of the whole piece with the horn players soloing over those steady grooves making the music seem instantly "catchy" and familiar.
For the above reason alone this album deserves a place in any jazz fans collection.
Great Stuff

Pure "cool"..., 30 Dec 2003
"The Sidewinder"... 10 minutes 24 seconds of pure "cool" and a stunningly effective example of how to push jazz into mainstream popular music without compromising on technique or virtuosity. Recorded in 1963 - way before "jazz/funk" was invented - Lee Morgan lays down its perfect template by creating an insidious riff that captures & holds the listener's attention while inviting improvisation from a superbly tight band that includes Joe Henderson on sax and the wonderful Bob Cranshaw on bass. So clever that their breaks become an integral part of the driving back-beat that results in that rarest of things: a jazz track that you can actually dance to. Definitive, timeless and, above all, fun.

And the rest?..