1 	All Day Long	18:18
2 	Slim Jim	7:28
3 	Say Listen	6:41
4 	A. T.	6:40
5 	C.P.W.	5:54

    Bass – Doug Watkins
    Drums – Arthur Taylor
    Guitar – Kenny Burrell
    Piano – Tommy Flanagan
    Tenor Saxophone – Frank Foster
    Trumpet – Donald Byrd

Two of guitarist Kenny Burrell's best sessions from the 1950s were this release and its companion, All Day Long. Burrell is teamed with an impressive group of young all-stars, including trumpeter Donald Byrd, tenor saxophonist Hank Mobley, Jerome Richardson on flute and tenor, pianist Mal Waldron, bassist Doug Watkins, and drummer Art Taylor. In addition to the lengthy "All Night Long" and three group originals (two by Mobley and one from Waldron), the original LP program has been augmented by a medley of "Body and Soul" and "Tune Up" from the same session. Jam sessions such as this one are only as good as the solos; fortunately, all of the musicians sound quite inspired, making this an easily recommended set. ---Scott Yanow, Rovi

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1.    "Freight Trane" (Tommy Flanagan) — 7:18
2.    "I Never Knew" (Ted Fio Rito, Gus Kahn) — 7:03
3.    "Lyresto" (Kenny Burrell) — 5:35								play
4.    "Why Was I Born?" (Oscar Hammerstein II, Jerome Kern) — 3:11
5.    "Big Paul" (Tommy Flanagan) — 14:13

Personnel
    Kenny Burrell — guitar
    John Coltrane — tenor saxophone
    Tommy Flanagan — piano
    Paul Chambers — bass
    Jimmy Cobb — drums

Albums in which one jazz great "meets" another jazz great hold a special fascination with listeners and usually the collaboration itself is enough of a selling point to include it as the title. Consider Gerry Mulligan, who tended to record his best playing in tandem with another, like Ben Webster, Paul Desmond, and Stan Getz. Another frequent collaborator was Coltrane, who recorded with Ellington, Hawkins, and Hartman; however, his brilliant quartet recordings for Impulse tend to overshadow recordings such as Kenny Burrell and John Coltrane, which has recently been remastered in 20 bit.

Both Coltrane and Burrell were at pivotal stages in their career at the time of this session. Coltrane, currently with Miles Davis, wasn't afraid to dine with the jazz giants but still couldn't stop putting his elbows on the table from time to time. Burrell was a highly respected sideman, able to fit seamlessly into any context, who also recorded sturdy sessions as a leader. However, what makes this record stand out is the contributions of all five members, who seem to have an equal amount invested in it; this record, which could easily turn into a showcase for the two leaders, ends up as a group effort where everyone gets a chance in the spotlight. Coltrane and Burrell frequently trade off the first solo chair, never hogging the spotlight, and on "Big Paul" the rhythm section is allowed to navigate the changes for a few minutes while the two leads sit out. The end result is a record in which the best is brought out in five musicians rather than three musicians helping two reach new heights.

As you might expect, the soloing is fine throughout; Coltrane's bold tone, marked by dense arpeggios, is a harbinger of early classics like Giant Steps. Burrell, who plays with more of an edge than other guitarists of the era, pulls multiple riffs out of his bag of tricks. We get all this and a bowed solo from Paul Chambers. The highlight of the session is "Why Was I Born?", a duet between Trane and Burrell, which is intimate and beautiful. It's a treat to hear Trane accompanied solely by guitar, a setting that he only explored once. (In Coltrane's case, the answer to the question posed in the title is to record Kind Of Blue.)

Both artists went on to other things after this recording, but it would be interesting to hear what would happen had they recorded again a few years later. Both artists reached their most personal statements in 1964; Coltrane, the spiritual A Love Supreme and Burrell the criminally unrecognized Guitar Forms. In both albums each artist was branching out into new territory and another recording together would certainly have been rewarding. Still, though, we should be glad that we have this session as an example of what can happen when these two great minds came together. ---David Rickert, allaboutjazz.com

For his final Prestige-related session as a sideman, John Coltrane (tenor sax) and Kenny Burrell (guitar) are supported by an all-star cast of Paul Chambers (bass), Jimmy Cobb (drums), and Tommy Flanagan (piano). This short but sweet gathering cut their teeth on two Flanagancompositions, another two lifted from the Great American Songbook, and a Kenny Burrell original. Flanagan's tunes open and close the album, with the spirited "Freight Trane" getting the platter underway. While not one of Coltrane's most assured performances, he chases the groove right into the hands of Burrell. The guitarist spins sonic gold and seems to inspire similar contributions from Chambers' bowed bass and Coltrane alike. Especially as the participants pass fours (read: four bars) between them at the song's conclusion. The Gus Kahn/Ted Fio Rito standard "I Never Knew" frolics beneath Burrell's nimble fretwork. Once he passes the reigns to Coltrane, the differences in their styles are more readily apparent, with Burrell organically emerging while Coltrane sounds comparatively farther out structurally. Much of the same can likewise be associated to Burrell's own "Lyresto," with the two co-leads gracefully trading and incorporating spontaneous ideas.

While not as pronounced, the disparity in the way the performance is approached is a study in unifying and complementary contrasts. The delicate "Why Was I Born" is one for the ages as Burrell and Coltrane are captured in a once-in-a-lifetime duet. Together they weave an uncanny and revealing sonic tapestry that captures a pure and focused intimacy. This, thanks in part to the complete restraint of the ensemble, who take the proverbial "pause for the cause" and sit out. What remains is the best argument for the meeting of these two jazz giants. The performance can likewise be located on the various-artists Original Jazz Classics: The Prestige Sampler (1988) and Playboy Jazz After Dark (2002) and is worth checking out, regardless of where one might find it. In many ways the showpiece of the project is Flanagan's nearly quarter-hour "Big Paul." The pianist's lengthy intro establishes a laid-back bop-centric melody with his trademark stylish keyboards perfectly balancing Chambers and Cobb's rock-solid timekeeping. Coltrane's restraint is palpable as he traverses and examines his options with insightful double-time flurries that assert themselves then retreat into the larger extent of his solo. Those interested in charting the saxophonist's progression should make specific note of his work here. ---Lindsay Planer, allmusic.com

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1. Tin Tin Deo (Gil Fuller/Chano Pozo) 7:17
2. Old Folks (Dedette Hill/Willard Robinson) 4:35
3. Have You Met Miss Jones (Richard Rodgers/Lorentz Hart) 2:53
4. I Remember You (Johnny Mercer/Victor Schertzinger) 5:44
5. The Common Ground (Kenny Burrell) 4:22
6. If You Could See Me Now (Tadd Dameron/Carl Sigman) 6:18
7. I Hadn’t Anyone Till You (Ray Noble) 3:52
8. La Petite Mambo (Erroll Garner) 4:18

Personnel:
Kenny Burrell (Guitar)
Reggie Johnson (Double Bass)
Carl Burnett (Drums)

This CD reissue brings back a typically tasteful set by guitarist Kenny Burrell. Performing in a sparse trio with bassist Reggie Johnson and drummer Carl Burnette, Burrell plays boppish and swinging versions of his own blues "The Common Ground," Erroll Garner's playful "La Petite Mambo" and six jazz standards. Nothing particularly surprising occurs but Burrell is heard throughout in above-average form and this release should please his fans. ---Scott Yanow, Rovi

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CD1
1. Phinupi 9:45
2. Yes Baby 11:05
3. Scotch Blues 7:56
4. The Man I Love 6:43				play
5. I Never Knew 12:34

CD2
1. Caravan 9:55
2. Chuckin' 12:10
3. Rock Salt 11:19
4. Autumn In New York 5:44			play

Line Up:
Kenny Burrell — guitar
Louis Smith — trumpet
Junior Cook — tenor sax
Tina Brooks — tenor sax
Duke Jordan — piano
Bobby Timmons — piano
Sam Jones — bass
Art Blakey — drums

Kenny Burrell's classic Blue Note jam session with the tenors of Tina Brooks and Junior Cook, trumpeter Louis Smith and Art Blakey, complete in stereo on CD for the first time. Added to the two original LPs is the bonus track "I Never Knew." BLUE LIGHTS was originally released as two seperate LPs. All tracks on this reissue are mastered in stereo. ---Editorial Reviews

The music on this 1997 two-CD set was originally on two LPs and already previously reissued as a pair of CDs. Guitarist Kenny Burrell leads a very coherent jam session in the studio with a particularly strong cast that also includes trumpeter Louis Smith, both Junior Cook and Tina Brooks on tenors, either Duke Jordan or Bobby Timmons on piano, bassist Sam Jones, and drummer Art Blakey. The material consists of basic originals and standards and has excellent playing all around; six of the nine tunes are over nine minutes long. At that point in time, Cook and Brooks had similar sounds, but, fortunately, the soloists are identified in the liner notes for each song. The solo star is often trumpeter Louis Smith, who fell into obscurity after a few notable appearances on Blue Note during the period (including his own brilliant date, Here Comes Louis Smith). He was one of the finest of the Clifford Brown-influenced players of the period and deserves much greater recognition. This is a recommended reissue for hard bop collectors who do not already have the two individual CDs. --- Scott Yanow, Rovi

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1.Moten Swing
2.Weaver Of Dreams
3.Delilah
4.Fugue 'n Blues
5.But Not For Me
6.K.B. Blues
7.Nica's Dream
8.My Heart Stood Still
9.Blues For Skeeter

Personnel: 
Kenny Burrell (guitar), 
Tommy Flanagan (piano), 
Paul Chambers (bass), 
Kenny Clarke (drums), 
Candido (congas)

"There's no finer guitar player. There may be somebody else who is as good, but you can't play finer guitar than Kenny Burrell." --George Benson

A member of a musical family, Kenny Burrell began playing guitar at the age of 12. In 1951, while studying music at Wayne State University, he worked for a month with Dizzy Gillespie's sextet, making his recording debut. After graduating in 1955, he toured with Oscar Peterson, and then moved to New York in 1956.

He soon began performing and recording with many famous players, and established his reputation as an outstanding guitarist. As well as making between 30 and 40 LPs as a leader, he has played as a sideman on about 200 albums, recording in many styles under such leaders as John Coltrane, Gil Evans, Stan Getz, Billie Holiday, Milt Jackson, Quincy Jones, Thad Jones, Yusef Lateef, Hubert Laws, Herbie Mann, Sonny Rollins, Lalo Schifrin, Jimmy Smith, and Stanley Turrentine.

Burrell performs most frequently in a trio with a double bass player and a drummer. However he has also worked as an unaccompanied soloist, and in larger groups, such as the nine-piece Philip Morris Superband, with which he toured internationally in 1985-86. He has also made recordings on banjo, including Hot and Bothered as a sideman with Mercer Ellington. In addition to performing and recording he has been active as a teacher; he began leading seminars at colleges in 1971, and has taught courses in the music of Duke Ellington at universities around Los Angeles, where he settled in 1972.

Burrell's playing is in the bop style, but is more conservative than that of some of his colleagues, for he favors simple, often singable, melodic lines rather than flights of virtuosity. His tone is particularly mellow. --Thomas Owens, The New Grove Dictionary of Jazz

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1. Chitlins Con Carne (Rudy Van Gelder Edition)	 5:30
2. Mule (Rudy Van Gelder Edition) 	6:57
3. Soul Lament (Rudy Van Gelder Edition) 	2:43					play
4. Midnight Blue (Rudy Van Gelder Edition) 	4:01					play
5. Wavy Gravy (Rudy Van Gelder Edition) 	5:47
6. Gee Baby, Ain't I Good To You (Rudy Van Gelder Edition) 	4:25	
7. Saturday Night Blues (Rudy Van Gelder Edition) 	6:15
8. Kenny's Sound (Take 10) (Rudy Van Gelder Edition) 	4:42
9. K Twist (Take 35) (Rudy Van Gelder Edition) 	3:38

Musicians:
    Kenny Burrell – guitar
    Stanley Turrentine – tenor saxophone
    Major Holley – bass
    Billy Gene English – drums
    Ray Barretto – conga

Kenny Burrell's music is a wonderful blend of elegance and conviction, musical inventiveness and thoughtful restraint. On this 1967 session, the guitarist is joined by regular associates--tenorist Stanley Turrentine, conga drummer Ray Barretto, bassist Major Holley, and drummer Bill English--and together they concentrate on the subtlest and deepest hues of the blues, combining strong rhythmic grooves with a feeling of late-night reflection. There's never a misstep or a superfluous note, from the funky Latin hit "Chitlins Con Carne" to Burrell's deeply felt solo "Soul Lament" and the concentrated swing of "Gee, Baby, Ain't I Good to You." The result is a masterpiece, and the 24-bit remastering by the original engineer, Rudy Van Gelder, adds to the spaciousness and intimacy that have always been hallmarks of the session. ---Stuart Broomer

This album is one of guitarist Kenny Burrell's best-known sessions for the Blue Note label. Burrell is matched with tenor saxophonist Stanley Turrentine, bassist Major Holley, drummer Bill English, and Ray Barretto on conga for a blues-oriented date highlighted by "Chitlins Con Carne," "Midnight Blue," "Saturday Night Blues," and the lone standard "Gee Baby Ain't I Good to You." ---Scott Yanow, allmusic.com

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