Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train — Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry — touching upon all forms in between. The personnel on Blue Train is arguably as impressive as what they're playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums). The triple horn arrangements incorporate an additional sonic density that remains a trademark unique to both this band and album. Of particular note is Fuller's even-toned trombone, which bops throughout the title track as well as the frenetic "Moments Notice." Other solos include Paul Chambers' subtly understated riffs on "Blue Train" as well as the high energy and impact from contributions by Lee Morgan and Kenny Drew during "Locomotion." The track likewise features some brief but vital contributions from Philly Joe Jones — whose efforts throughout the record stand among his personal best. Of the five sides that comprise the original Blue Train, the Jerome Kern/Johnny Mercer ballad "I'm Old Fashioned" is the only cover tune in the stack. In terms of unadulterated sentiment, this version is arguably untouchable. Fuller's rich tones and Drew's tastefully executed solos cleanly wrap around Jones' steadily languid rhythms. This is sheer jazz nirvana. Without reservation, Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane's career, but of the entire genre of jazz music as well.

 Far and away Horace Silver's most famous Blue Note album, Song for My Father is also a transitional document of sorts. The bulk of the original LP features a brand new 1964 quintet with Carmell Jones on trumpet, Joe Henderson on tenor, Teddy Smith on bass, and Roger Humphries on drums. But two tracks, "Calcutta Cutie" and the trio ballad "Lonely Woman," are from an earlier session (Halloween, 1963) with Silver's previous working band - with Blue Mitchell on trumpet, Junior Cook on tenor, Gene Taylor on bass, and Roy Brooks on drums. (Pat Metheny covered "Lonely Woman" on acoustic guitar for his 1983 album Rejoicing.)

The RVG Edition of Song for My Father gives us additional material from the 1963 session, as well as two tracks from a third, January 1964 session, also with the earlier quintet ("Sighin' and Cryin'," "Silver Treads Among My Soul"). The waltz "Sanctimonious Sam" proves to be the essence of Silverian hardbop. And the trio take of "Que Pasa?" offers a fascinating contrast with the quintet version from the original LP. This tune, in particular, exemplifies the island sound Silver was after as he set out to honor his Cape Verdean heritage.

Joe Henderson's contributions, from his incendiary solo on the title track to the inclusion of "The Kicker" (now one of his more famous tunes), deserve emphasis as well.

One of Blue Note's greatest mainstream hard bop dates, Song for My Father is Horace Silver's signature LP and the peak of a discography already studded with classics. Silver was always a master at balancing jumping rhythms with complex harmonies for a unique blend of earthiness and sophistication, and Song for My Father has perhaps the most sophisticated air of all his albums. Part of the reason is the faintly exotic tint that comes from Silver's flowering fascination with rhythms and modes from overseas — the bossa nova beat of the classic "Song for My Father," for example, or the Eastern-flavored theme of "Calcutta Cutie," or the tropical-sounding rhythms of "Que Pasa?" Subtle touches like these alter Silver's core sound just enough to bring out its hidden class, which is why the album has become such a favorite source of upscale ambience. Song for My Father was actually far less focused in its origins than the typical Silver project; it dates from the period when Silver was disbanding his classic quintet and assembling a new group, and it features performances from both bands (and, on the CD reissue with bonus tracks, three different sessions). Still, it hangs together remarkably well, and Silver's writing is at its tightest and catchiest. The title cut became Silver's best-known composition, partly because it provided the musical basis for jazz-rock group Steely Dan's biggest pop hit "Rikki Don't Lose That Number." Another hard bop standard is introduced here in the lone non-Silver tune, tenor saxophonist Joe Henderson's "The Kicker," covered often for the challenge of its stuttering phrases and intricate rhythms. Yet somehow it comes off as warm and inviting as the rest of the album, which is necessary for all jazz collections — mainstream hard bop rarely comes as good as Song for My Father.

 One of the pivotal recordings in bringing about the widespread acceptance of Sonny Rollins as a major figure, Saxophone Colossus inspired critics to write scholarly analyses and fans to revel in the hard-swinging invention, humor, and tender-strength balladry. Up to this album, while most musicians recognized Rollins as one of the new influential forces in the jazz of the Fifties, most critics were carping at Rollins or damning him with faint praise. "St. Thomas," a traditional West Indian melody which Mal Waldron remembered as "The Carnival," was recorded by many artists after Sonny introduced it here, and it remains a jazz standard today. The contributions of Tommy Flanagan's elegant swing, Doug Watkins's steady lift, and Max Roach's most musical accompaniment and soloing (hear "Blue 7") make this a landmark album.

 This fun-lovin' date scored a surprise hit for Morgan as the title track cracked into Billboard's Top 100. In fact, any of the five tunes might have made the wiggle circuit with their plethora of hooks and Latin edginess. They all have a mighty jump to them - Lee was one of the sons of Silver! Hi yo, Horace! Joe Henderson's tenor sax shares the front line with his customary good-natured thoughtfulness and focused drive; Joe's driving solo on the popping waltz "Gary's Notebook" sets up Lee's bending, swirling note-pad and Barry Harris' playing around brilliantly with jumping octaves. There's no easement whatsoever in "Boy! What A Night" - an up-tempo, churchy 12/8 with a declamatory head - as Lee follows Joe in high-rolling solos as Billy Higgins raps out kicking off-beats behind them. Check Barry's fills on the out-chorus and praise the Lord! The snappy bopper "Hocus Pocus" is the sole non-Latin-tinged track and it kicks butt anyway; the horns dipsy-doodle with Smiling Billy's traps on the penultimate chorus. Two 10-minute takes of "Totem Pole" present the horns in tight harmony, then writhing DNA coils around each other on the half-time straight-eight bridge, soloing broad and handsome, and wrapping up a decidedly bright-eyed session

 Masterful, mellow Mobley here takes the light reins in a relaxed quartet setting with old friends and ex-boss Blakey. Hank would record with Miles Davis within the year with Wynton and Paul, with Jimmy Cobb replacing Blakey on drums. Standards frame the date: an Irving Berlin beauty at a medium tempo has sweet solos from all. Hank gives "If I Should Lose You" his prime-time soulful ballad treatment. In betwixt are four smooth originals. "Split Feelin's" has the boppers' Latino ring usually applied to "Out Of This World". "This I Dig Of You" is justifiably one of the sought-after and polished gems of the Mobley Songbook. The title track stretches nine minutes in an after-hours mood with a head-noddin' back-beat and an ineffably full-sail solo. Wynton coitnly knows how to ring dem blue chimes. Oh, yeah. Chambers and Blakey push just enough, no more.

 After leaving John's Coltrane musical sphere in 1965, McCoy Tyner continued on his own with singular explorations into modal forms. This session finds his career in an ascendent trajectory, lasering through five of his very finest compositions in warm and understanding company. Frequent session-mate tenor giant Joe Henderson, bassist Ron Carter (still in Miles Davis' band), and fellow Trane alumnus Elvin Jones contribute wisdom and feeling unparalleled. The ebullient "Passion Dance" is fueled by Henderson's sinewy tenor and sparked by Jones' flamboyant cross-rhythms. The relaxed 6/4 groove of "Contemplation" features unfettered solos with Tyner's lines crisp and clean and Elvin dropping bombshells. The tautly structured "Four By Five" gets fluid solos (that omit the two bars of 5/4 in the middle of the head), Henderson charging forward and Tyner unfurling crystalline single-note lines, as he does on his beautiful "Search for Peace," arguably his most enduring favorite. The saucy "Blues on the Corner" takes out this date for the ages with a dash of swagger.