"The first classic album by the Horace Silver Quintet, this CD is highlighted by "Señor Blues" (heard in three versions, including a later vocal rendition by Bill Henderson) and "Cool Eyes." The early Silver quintet was essentially the Jazz Messengers of the year before (with trumpeter Donald Byrd, tenor saxophonist Hank Mobley, and bassist Doug Watkins, while drummer Louis Hayes was in Blakey's place), but already the band was starting to develop a sound of its own. "Señor Blues" officially put Horace Silver on the map." (Scott Yanow, Allmusic)
Jazz Podium De Tor-tip. "In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. "4, 5 And 6" presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track -- thus the title. Mal Waldron, himself an unconventional pianist, is a wonderful complement for McLean's notions, with the impervious rhythm section Doug Watkins and Art Taylor. The quartet pieces range from totally bluesy, to hard bop ribald, to pensive and hopeful. Donald Byrd joins the fray on his easygoing bopper "Contour," where complex is made simple and enjoyable, while Hank Mobley puts his tenor sax to the test on the lone and lengthy sextet track, a rousing version of Charlie Parker's risk-laden "Confirmation." It's Waldron's haunting ballad "Abstraction," that somewhat illuminates the darker side." (Michael G. Nastos, Allmusic)
"This single CD has nearly all of the music from "Message" and "Second Message". The first session mostly features the fine tenor Hank Mobley jamming on four superior bop standards, including "Bouncing with Bud," "52nd Street Theme" and "Au Privavem" and his own "Minor Disturbance" in a quintet with trumpeter Donald Byrd, pianist Barry Harris, bassist Doug Watkins and drummer Art Taylor; altoist Jackie McLean has a strong cameo on "Au Privave." The second set, recorded a week later, is less of a jam session, with Mobley, trumpeter Kenny Dorham, pianist Walter Bishop, bassist Doug Watkins and drummer Art Taylor essaying three of Mobley's now-obscure compositions, Benny Harris's "Crazeology" and the standards "These Are the Things I Love" and "I Should Care." The two dates give one a good example of Hank Mobley's playing prior to becoming a regular Blue Note artist, where he would create his greatest work." (Scott Yanow, Allmusic)
Op dit klassieke hardbop-album uit 1956 wordt de pianist Silver bijgestaan door Donald Byrd (t), Hank Mobley (ts), Doug Watkins (b) en Art Taylor (d). Kenny Clarke (d) is op twee stukken te horen i.p.v. Taylor.
"Candy is a unique item in Morgans history for it is the only quartet album that Morgan ever recorded. In fact, no other horns were needed! Candy features the trumpeter playing with beauty, fire, passion and a mature lyricism exceeding most musicians double his age. Joined by a rhythm section of young giants including pianist Sonny Clark, Morgan burns on the faster pieces but puts plenty of feeling into All The Way, the soulful Since I Fell For You and Personality. At 20, Lee Morgan was already a modern master and, from this point forward, considered one of the great trumpet men of jazz. Who said that youth was wasted on the young?" (Elite Diffusion)
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