Billboard : 04/27/1957
Score of 83

A strong packaging idea well executed for what should prove a very good seller in all jazz shops. All four tenors play on all tunes, each extensively, and also in stimulating short exchanges with each other, with top-notch modern rhythm support by Garland, Chambers and A. Taylor. Interesting contrast in Cohn‘s and Sims‘ cool style as against the “harder” styles of Mobley and Coltrane. Good notes add interest, but watch out for a mix-up in titles.

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Oakland Tribune
Russ Wilson : 04/07/1957

A highly interesting demonstration of instrumental evolution in modern jazz, as well as some fine blowing is afforded by a new Prestige LP entitled Tenor Conclave. Featured are saxmen John Coltrane and Hank Mobley, of the neo-bop school, and Al Cohn and Zoot Sims, representing the lineage which sprang from Lester Young. The excellent notes by Ira Gitler point out the differences which separate the musicians of these schools and also the similarities which make many of them closer than a lot of listeners may have realized. After reading the notes and hearing the record, an open-minded fan must admit that all have their points. Giving strong support to the horns are pianist Red Garland, bassist Paul Chambers, and drummer Art Taylor; they also come in for a share of the solo space. One of the most interesting of the four tracks is How Deep is the Ocean, done at a slow tempo, during which Chambers plays one of his amazing bowed solos.

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Saturday Review
Wilder Hobson : 04/27/1957

While browsing through “The Guinness Book of Superlatives” in search of sentiments to suit the springtime weather, I came upon the following: “The most complex ‘one-man band’ ever constructed was the ‘Panomonico’ built by the Austrian, Karl Waelzel. It incorporated 150 flutes, 150 flageolets, 50 oboes, 18 trumpets, 5 fanfares, 2 timbals and 3 large drums. It was bought by Archduke Charles of Austria (1771-1847) for 100,000 French francs for the express purpose of annoying people at his court.” I was immediately put in mind of a new record called Tenor Conclave which has been harassing my court for some days now, and which is especially bothersome to me because it seems a disservice to a lot of fine talent. In the first place, there are four tenor saxes aboard – Hank Mobley, Al Cohn, John Coltrane and Zoot Sims. That is a good many tenor saxes, and while their styles may be individually discriminated, there is not such a great difference in their musical feeling but what a deal of expressive monotony sets in. Secondly, the excellent rhythm section of Red Garland, piano, Paul Chambers, bass, and Art Taylor, drums, does not have anything like the chance to display itself that I would have wished. Thirdly, the rapport between the saxophones and the rhythm section is often hard to discover. And, finally, my copy of the disc seems to have been mislabeled, so that a number called Tenor Conclave would appear to be the order of events described under the title Bob’s Boys. I think the whole venture, in short, might have borne a little more consideration in the studio, and if this sounds cavalier I can try to make amends by saying that when the group renders a slow version of How Deep Is the Ocean, I am theirs.

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Down Beat : 04/30/1957
Nat Hentoff : 4.5 stars

An unusually clarifying and multiply (sp?) successful confrontation. This LP should provide much immediate illumination for anyone whose curiosity has not been wholly satisfied concerning the difference between the two major trends of modern tenor and the variation in each. To help further, Ira Gitler has contributed the most accurate and clearest discussion of the subject I’ve yet seen in print. I’d suggest you read his genealogical tracing and corollary descriptions in the notes before hearing the record.

As Gitler points out, Zoot and Al are in the Basie–Young tradition with some Parker influence. Mobley and Coltrane come directly from Parker and each has complementary influences. Sims and Cohn are “brothers,” Gitler adds, while Mobley and Coltrane’s differences are somewhat wider, so they could be called “cousins.” All four respond to the challenge, and for the most part, are at the top of their form. Coltrane, who has been improving rapidly, never has struck me as impressively as he does here.

The rhythm section is just right, and there are bonus Chambers solos. On the record, the titles for Tenor Conclave and Bob’s Boys have been switched. The LP represents a valuable a&r idea and is an indication of a reenergization of the creative thinking at Prestige that should lead to an important year for them – and for us.

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Liner Notes by Ira Gitler

Last year a writer on jazz posed a question to me. It was, “How do you dig both Sonny Rollins and Zoot Sims?”, and I answered, “Because I dig both Charlie Parker and Lester Young“.

Herein lies the key to the one of the internal differences in the wide area of the mainstream of modem jazz as we hear it played today. On one hand we have musicians who have followed in the footsteps of the founding fathers of Bop — Charlie Parker, Dizzy Gillespie and Thelonious Monk. On the other side there are the musicians who are playing in a style which combines the synthesized influences of Bop, certain modem arrangers like Gerry Mulligan and Gil Evans, the Tristano school and the Lester Young-Count Basie tradition. The last named element is a strong determinant in the sound and spirit of much of their playing.

When you take a specific category like the tenor saxophone where Bird and Pres have both had a strong influence on most of the musicians who have become prominent on the instrument in the last ten years you can see, very acutely, some of the important differences that separate the players and also the similarities which make many of them closer than previously thought.

Some of the determining factors in the position of today’s important tenormen are method of attack, sound, and the material on which they choose to base their improvisations. The major influences on each musician have much to do with this and these influences in turn are often a result of the particular period in which he grew up and came to full flower.

An excellent example of inner differences in a similar area can be found in examining the work of Zoot Sims and Al Cohn and comparing it to the playing of Bill Perkins and Richie Kamuca. In the broad sense, all would be considered modernists in the Basie-Young tradition but Sims and Cohn, who were originally inspired by Lester Young, grew up musically in the Forties when Charlie Parker was at his peak and his influence at its most powerful. Although they do not play like Parker, they have been affected somewhat stylistically and very much harmonically.

Kamuca and Perkins (active from the Fifties) who, for inspiration go back to the Pres of the Basie period and also to the Brothers (Sims, Cohn, Getz) are only touched by Bird through osmosis from the Brothers and since it is twice removed, the traces are intangible.

A great difference is material and this is something that holds true throughout jazz. Sims, in addition to playing tunes like Broadway and Tickle toe also includes Parker’s Donna Lee, Gillespie’s Woody’n You and Monk’s Bye-ya in his repertoire. Kamuca and Perkins feature tunes like Helti’s Half Past Jumping Time, Goodman’s A Smooth One, Song Of The Islands and tunes based on Pres’ original solos. Neither would be likely to write an original of the nature of Cohn’s Infinity.

While the differences do exist within the Pres wing, they are small ones compared to those which emerge when the Brothers and their disciples are contrasted with the followers of Charlie Parker. Yet, the all too convenient labeling of the latter group as “hard bop” is a case of over application.

The Sonnys, Stitt and Rollins are two of the leading influences and yet are different in attack and sound. Both stem from Bird but both have Pres in then background. Stitt, who brought his Bird-like alto conception to the tenor, lets the Pres influence show occasionally on the larger horn. Rollins, who left his alto conception (Louis Jordan at the time) completely behind when he switched to tenor, has been persuaded by both the alto and tenor of Bird and also has been touched by Young and Coleman Hawkins. You can hear the Young in his tenor duet with John Coltrane in Tenor Madness.

The “hard” boppers (soundwise) are Stitt, Frank Foster and Billy Mitchell. Coltrane fits in here to an extent because he is partly out of the Stittian mold and his tone has a cutting edge. He also uses hollowed out sustained notes and scoops reminiscent of the way Dexter Gordon played in the mid-Forties and this was a Pres-portion of the dual Gordon makeup rather than a Bird side. Trane literally screams his ideas at times.

Hank Mobley is not a “hard” bopper. His long lines are sinewy and sinuously sculpted but his sound has been and is evolving toward a personal mellowness with rounder edges. Hank descends directly from Bird (notice how he sometimes favors double time runs) and if you know Bird’s tenor playing, you remember it was not “hard”. The Savoy session with Miles Davis (Milestones, Sippin’ At Bells, Little Willie Leaps, Half Nelson) is the best example. Stylistically, Sims and Cohn are Brothers, Mobley and Coltrane, Cousins. Their ability to blow as a homogenous foursome show the Brothers and Cousins to be second Cousins. They meet on a common harmonic ground. The melodic structure of Mobley’s two originals, Tenor Conclave (a “rhythm” pattern) and Bob’s Boys (a blues so named because the four are among Bob Weinstock’s special favorites), were written with Al and Zoot in mind, Just You, Just Me and How Deep Is The Ocean are tunes that have proved their worth over the years in becoming jazz standards.

This was by no means a cutting session. Each of the four showed admiration for the other three, both tacitly and verbally.

The rhythm section not only offers strong support but also complementary solos. Incidentally, they can be heard as a separate entity in A Garland of Red.

So the twain meets and four “swingers”, representing two of the most regal lineages in jazz, blend horns. While there is no appreciable influencing one school on another, there is a continuity and an empathy. These are four distinct and recognizable voices but for the listeners unfamiliar with their styles, I have included a complete log of choruses.

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Tenor Conclave — intro by Mobley, Coltrane, Sims and Cohn in that order; ensemble for 16 bars; solos on bridge in same order as intro; interlude; Mobley, Sims Cohn and Coltrane 3 choruses each; Garland (2); Chambers (2—bowed); Taylor (not quite 1); 1 chorus of “fours” between Mobley & Coltrane; 1 chorus of “fours” between Cohn & Sims; ensemble out chorus with solos on bridge in same order as opening bridge; interlude.

Bob’s Boys — ensemble & answer by Mobley in 1st chorus; ensemble & answer by Sims in 2nd chorus; Coltrane (5 ch.); Cohn (4); interlude; Mobley (4); Sims (4); Garland (2); Chambers 2 — picked); 2 choruses of “fours” between Coltrane & Cohn; 2 choruses of “fours” between Mobley and Sims; 4 choruses of “fours” with Coltrane, Cohn, Mobley and Sims in that order; ensemble and answer by Sims; tag by Mobley. Coltrane and Cohn.

How Deep Is The Ocean? — intro and 1st chorus by Cohn; Garland (1); Sims (1); Chambers (1-bowed); Coltrane (1); Mobley (1 and tag).

Just You, Just Me — ensemble for 16 bars; bridge with Sims and Mobley; ensemble for last 8; Mobley (2 ch.); Sims (2); Coltrane (2); Cohn (2); Garland (2); 16 bars apiece by Mobley, Sims, Coltrane and Cohn in that order; 3 choruses of “fours” in same order; out chorus like opener except for Cohn and Coltrane blowing the bridge.