Blue Mitchell – trumpet [click here to see more vinyl featuring Blue Mitchell] Jimmy Forrest – tenor saxophone Walter Bishop, Jr. – piano Larry Gales – bass Doug Sides – drums Written by Blue Mitchell (A1-3, B2), Benny Golson (B1), Sergio Mihanovich (B1) 1 LP, standard sleeve with 12-inch insert featuring rare photos and words from Doug Sides Original analog Master tape : YES Heavy Press : 180g Record color : Black Speed : 33 RPM Size : 12'’ Stereo Studio Record Press : Pallas Label : New Land Original label : Mainstream Recorded in New York City in March 1971 Produced by Bob Shad Mastered by Kevin Gray Originally released in 1971 Reissued in July 2022 Tracks: Side A: Soul Village Blues for Thelma Queen Bey Side B: Are You Real Mi Hermano Reviews: “After recording for Blue Note as both a leader and noted sideman for seven years, Blue Mitchell recorded and released his self-titled debut for Bob Shad's Mainstream label in 1971. (The trumpeter had spent the last year of his BN contract not as a leader, but as a sideman on dates by Lou Donaldson, Grant Green, and Bobby Hutcherson). This date -- also known as Soul Village -- is somewhat of a retrenchment from the more R&B-infused sounds of 1969's underrated Collision in Black and Bantu Village (both produced by Monk Higgins), and featured his working live quintet with Jimmy Forrest on tenor, Walter Bishop, Jr. on piano and Fender Rhodes, bassist Larry Gales, and drummer Doug Sides. While the sound reflects more of his hard bop roots, it also engages readily with soul-jazz, too. As a whole, it offers evidence of a renewed creativity by Mitchell as composer -- he wrote two tunes here -- and soloist. The lone cover is a killer version of Benny Golson's "Are You Real." Opener "Soul Village," credited here to Mitchell but composed by Bishop, is colored by the pianist's darkly tinged Latin Rhodes vamp. It's funky, with breakbeats and an excellent late-'60s soul gospel melody. His and Forrest's solos are in the pocket, coming right out of hard bop. "Blues for Thelma" is straight hard bop with a wonderfully knotty head from the front line, a hard groove from Bishop, and a great loping solo by Mitchell. "Queen Bey" offers traces of both Afro-Cuban son and Nigerian highlife in its slippery, yet driving polyrhythmic attack, but is otherwise a blues. Closer "Mi Hermano" (also a Bishop original that is mis-credited on the sleeve) underscores the Afro-Latin tinge, with Bishop's Rhodes delivering some smoking montunos accented and answered by Sides. The front line statement played in unison resembles a chant, yet is expanded by Bishop's soulful, finger-popping solo, followed by excellent ones from Forrest and the trumpeter before the theme returns. This is a solid session, and one of the best in his Mainstream catalog.” AllMusic Review by Thom Jurek Ratings : AllMusic : 3.5 / 5 ; Discogs : 4.37 / 5
