Billboard : 12/16/1957
Score of 75

This is one of the better sets by Ammons for the label. Highlight is an a-tempo expression of Pennies From Heaven by Ammons followed by excellent solos by Burrell, McLean, I. Sulieman and K. Burrell. Tight rhythm section has M. Waldron, P. Chambers and A. Taylor. Soulful blowing on the ballad and uninhibited wailing on the up-tempo numbers makes this an attractive item.

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San Francisco Examiner
C.H. Garrigues : 01/26/1958

One of the most cheering thoughts in a record world seemingly given over to the trivial and the meretricious springs from the steady (and apparently profitable) flow of solid jazz records from a few of the smaller companies which steadfastly refuse to compromise their good quality or good taste. Among these labels are Atlantic, Bethlehem, Blue Note, Debut and Prestige, which is perhaps the most dependable of the lot.

On Prestige’s first team are men like Donald Byrd, Idrees Suliman and Bill Hardman, trumpets; John Coltrane, Gene Ammons, Jackie McLean and Sahib Shihab, saxes; Mal Waldron, piano; Kenny Burrell, guitar; Paul Chambers, bass, and Art Taylor, drums. None of these men (unless it be Byrd and possibly Coltrane) is a champion and yet there is not a one who is not a runner-up. And, in addition, Prestige has a second team which includes Thad Jones and Webster Young, trumpets; Bobby Jaspar and Frank Wess, flutes and tenors; Paul Quinichette, tenor; Phil Woods and Gene Quill, altos, and Red Garland, piano.

All this is by way of introduction to a handful of new Prestige albums, most of which are worthy of extended individual review but which constitute enough of a picture to be considered as a group. Each exemplifies the modern, hard bop trend in jazz; together they show nearly best (but, I think, not THE best) in this type of jazz.

My own favorite of the lot is Jammin’ in Hi-Fi with Gene Ammons, featuring, besides Ammons, Sulieman, McLean, Burrell and the rhythm section. Ammons is a warmer, and yet more Youngish tenor than most of the Prestige stable; more than most of this group he has what jazzmen have come to call “soul.”

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Washington Post
Paul Sampson : 01/05/1958

Ammons plays much better here than his previous Prestige jam sessions, and his cohorts are in fine form. Others on the LP include Kenny Burrell, Mal Waldron, Paul Chambers and Idress Sulieman. Recommended.

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Down Beat : 04/03/1958
Don Gold : 3 stars

In this edition, the fifth in a series of Ammons-led sessions for Prestige since June, 1955, the tenor man heads what amounts to the Prestige house group in an after hours-type assault on four tunes. This sort of approach is valid in terms of jazz tradition, but is not always productive in musical terms.

Twister and Cattin’ are Waldron-devised riffs. Waldron arranged Miles Davis‘ Four, too. Ammons’ conception throughout does not flow comfortably. As Waldron points out in the notes, “his (Ammons) approach is from the heart instead of the head.” Some sort of combination of both would make his efforts more rewarding.

On Twister, Ammons tends toward JATP tradition, with plodding conception and prolific quoting. On Four, he is involved in a chase sequence with Sulieman, McLean, and Burrell that is pleaing.

Pennies begins as a ballad, with Ammons blowing over Burrell’s warm chordal backing, but shifts to medium tempo with unison voicing in the Billy May-out-of-Lunceford tradition. The solos are relaxed, but double time segments manage to creep in.

Ammons’ support is relatively inspired, in terms of the format employed, but his own playing lacks originality. Some of his statements verge on a primitive kind of beauty, but he is not able, here, to attain a meaningful level on a consistent basis.

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Liner Notes by Ira Gitler

Since Gene Ammons embarked on his series of high fidelity jam sessions for Prestige in June of 1955, he has produced five albums of which this the fifth. Throughout the series one thing has puzzled me. It is the opposite ends of the room that the reviewers and musicians occupy when it comes to the question of the merit of Gene’s playing.

I had overheard many of the musicians who recorded with Gene (these include Art Farmer, Donald Byrd and Lou Donaldson in addition to the players in this album) say how much they enjoyed playing with him. This was so antipodal to the critics’ views that I decided to ask for a specific answer as to why? from some of these participating jazzmen. There were many valid replies but the ones supplied by Mal Waldron, the pianist-composer-arranger who has played on three of the five albums summed up the outstanding reasons.

Mal related, “Gene is soulful, down to earth… he has that sincere quality. He’s always himself and is always involved in what he’s doing… he never plays with his eyes out the window. He’s very close to basic jazz… his approach is from the heart instead of the head. His playing is vigorous and lifts everybody on the session with its spirit.”

This session illustrates Mal’s points very well as an inspired atmosphere exists throughout. Two of the lines are simple formals for blowing by Waldron and Miles Davis‘ Four was arranged by Mal. As usual, Gene chose the standard; this time it was Pennies From Heaven.

The Twister, a swinging “rhythm” pattern, is the opener. Gene begins and toward the end of his solos makes use of quotes from Kerry Dance, Moose The Mooche and 52nd Street Theme. Sulieman, McLean, Burrell, Waldron and Chambers (bowed) solo and exchanges among the three horns and Burrell follow before the out chorus.

Four is taken at a groovy tempo. After solos by Sulieman, Ammons, McLean and Burrell, there is another round of solos of one chorus apiece this time, followed by another of half-choruses all in the same order as the original solos. The exchanges continue as the bars per person diminish and the excitement increases. Waldron solos and the three horns return for another set of chases this time with Taylor involved.

An out of tempo first chorus by Ammons with Burrell strumming behind him opens Pennies From Heaven. Then the rest of the rhythm section comes in to establish a medium tempo that serves as a backdrop for solos by Gene, Kenny, Jackie, a muted Idrees and Mal. Gene plays the final chorus which reverts to the out of tempo idea before finishing with a definite beat.

Cattin’, a funky blues which has the horns sounding almost like Billy May’s band, closes out side two. Ammons, Burrell and Sulieman all have sections of double-time in their solos but the last one by Jackie adheres to the original tempo.

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Biographies

Gene Ammons : born in Chicago in 1925. Son of pianist Albert Ammons. First gained prominence with Billy Eckstine‘s band in mid-forties. After leading his own group in Chicago for two years joined Woody Herman in 1949. From 1950-1952 he and Sonny Stitt had a combo that featured their tenor battles. Has appeared with his own groups and as a single since. Main influence has been Lester Young although also touched by the developments of Charlie Parker. Last Prestige LP was Funky (Prestige LP 7083).

Idrees Sulieman : born in St. Petersburg, FL, in 1923. Comes from a musical family. Studied at Boston Conservatory. Played with Thelonious Monk in mid-forties and was also with the big bands of Cab Calloway, Earl Hines, Count Basie, Lionel Hampton and Dizzy Gillespie. Favorite jazz trumpeters are Dizzy Gillespie and Clifford Brown. Can be heard in Three Trumpets (Prestige LP 7092).

Jackie McLean : born in New York in 1932. His father played guitar with Tiny Bradshaw. Jackie started playing in neighborhood band with Sonny Rollins and Kenny Drew. Learned chord changes by playing after school with Bud Powell. Has worked professionally with George Wallington, Charlie Mingus, Art Blakey and own group. Favorites are Charlie Parker and Sonny Rollins. Can be heard in Jackie McLean & Co. (Prestige LP 7087).

Kenny Burrell : born in Detroit in 1931. His three brothers are musicians. Hold a Bachelor of Music degree from Wayne University. Played with Dizzy Gillespie in 1951. Led own groups in Detroit until 1955 when he did a brief stint with Oscar Peterson. Prominent in freelance work around New York in the mid-fifties. Also with Benny Goodman. Favorites are Charlie Christian, Django Reinhardt, Oscar Moore. Can be heard in Kenny Burrell (Prestige LP 7088).

Mal Waldron : born in New York in 1926. Played alto sax first, piano during studies at Queens College where he also studied composition and received a B.A. Appeared importantly with Charlie Mingus in mid-fifties. In 1957 became accompanist to Billie Holiday. Favorites are Bud Powell and Thelonious Monk. Can be heard in Mal-2 (Prestige LP 7111).

Paul Chambers : born in Pittsburgh, PA, in 1935. Began by playing baritone horn and tuba around Detroit. Switched to bass. Worked with Detroit combos included Kenny Burrell’s. Went on the road with Paul Quinichette in 1954. Came to New York and played with Bennie Green, Jay & Kai, George Wallington and Miles Davis. Most of 1956-57 has been spent with Miles’ group. Favorites are Jimmy Blanton and Oscar Pettiford. Can be heard in Red Garland‘s Piano (Prestige LP 7086).

Art Taylor : born in New York in 1929. Studied privately with Chick Morrison. Has played with Coleman Hawkins, Buddy DeFranco, George Wallington, Bud Powell, Miles Davis and the Jazz Lab group. Favorites are Max Roach and Art Blakey. Can be heard in numerous Prestige LPs including Mal-2 (Prestige LP 7111).