If you look in the dictionary for the word “jazz”, you’re likely to find a picture of one of these albums, as they perfectly portray what mainstream modern jazz was and is supposed to sound like. These four vinyl reissues are in 180 gram quality, along with replicas of the original artwork. Dig in and listen!
Best known for his work as the pianist for Miles Davis’ first “classic” quintet, Red Garland took some time off his stint with the leader in 1957 to makes some records of his own as a leader, one of his best being this one with fellow Davis bassist Paul Chambers and hard bopping drummer Art Taylor. The team sizzles on a swinging “C Jam Blues” and dig in for “Wil You Still Be Mine”. Garland has a glistening crystal of a touch, shining on Errol Garner’s “Gone Again” and deeply blue on “Willow Weep For Me”. You don’t even miss Davis or Trane here, as Garland carries the load quite well, 
thank you, on this satisfying session.
In 1963, tenor saxist John Coltrane is found in his final session on the Prestige label as a sideman, teamed alongside the classy guitar of Kenny Burrell, for a seamless session. Joined by Jimmy Cobb/dr, Tommy Flanagan/p and Paul Chambers/b, Coltrane and Burrell have simpatico conversations, with ‘Trane at possibly his most lyrical on a joyful “I Never Knew” and the pair volleying back and forth on the clever “Lyresto”. Flanagan gives a colossal intro to the jam of “Big Paul” and is hip to the feel on his own “Freight Train”, but the agreed upon apotheosis here is the impressionistic duet between Burrell and Coltrane on a wondrously sublime “Why Was I Born” that has since been tried, but never equaled. An unassuming gem.
A ringer in the Prestige catalogue has to be this obscure gem by pianist John Wright, who recorded only a handful of albums, with this 1960 trio teaming with Wendell Roberts/b and Walter McCants/dr a real treat. The seven tunes here are all originals and all referring to The Windy City, with the tone being set on the opening track of “South Side Soul” and the leader preaching it from the pulpit on “Sin Corner “ and “Amen Corner”. It’s Sunday morning every day with this guy!
Miles Davis debuted his first “classic” quintet of John Coltrane/ts, Red Garland/p, Paul Chambers/b and Philly Joe Jones/dr on this 1956 release. The famed marathon recording session of this quintet was part of Davis desire to fulfill his Prestige contract so he could move on to the more commercially viable Columbia, little knowing that these songs would last for the ages. The album is a true team effort, with Garland in cocktail form on his intro to “ There Is No Greater Love” before Davis comes in on his patented Harmon mute. Likewise, Davis is coy and cute on “S’posin” and “Just Squeeze Me” flexing his muscles with Jones on “Stablemates” and the sole full version of “The Theme” with Coltrane just starting to uncoil his “sheets of sound” that would become the topic of discussion the rest of his career. A prototype of hard bop.