Billboard : 03/31/1958
Three stars

A swinging set that showcases two of today’s top jazz flutists. Jasper is backed by T. Flannagan, piano; D. Watkins, bass; B. Donaldson, drums and E. Cosa, vibes. This is some of Costa’s best vibe work on wax. Mann shines on both flute and alto flute with help from J. Puma, guitar and W. Marshall, bass in addition to Flannagan and Donaldson. Flute Bass Blues and Tutti Flutee are the standout sides. Mann has several relatively new LPs in circulation, but this fine set with added name power of the other principals has a good chance.

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High Fidelity
John S. Wilson : September, 1958

It might be a good idea if everybody forgot about flutes in jazz for awhile. Their shrill insistence is becoming as tedious as drum or bass solos. In one selection here, Flute Bob, Jaspar comes as close to a valid jazz performance on the flute as anyone has, although he spoils the effect by staying on too long. He ought to quit while he’s ahead, particularly since he is an exceptionally good tenor saxophonist.

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San Bernardino County Sun
Jim Angelo : May 10, 1958

Mann returns to the instrument with which he is generally associated on Flute Flight (Prestige 7124). Bolstered by vibist Eddie Costa plus a rhythm section which has Tommy Flanagan on piano, Doug Watkins on bass; and Bobby Donaldson on drums, Mann turns in another colorful, impressive performance. Tutti Flutee tops the repertoire of five originals.

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San Francisco Chronicle
Ralph J. Gleason : 04/13/1958

Very pleasant and at times deeply moving flute playing. The best track is Flute Bass Blues in which bassist Doug Watkins gets some intriguing things to say.

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Down Beat : 05/15/1958
Dom Cerulli : 3.5 stars

On the Prestige set, Herbie is paired with Jaspar on one side, and Jaspar has the second to himself. The two-flute things are quite absorbing because of the swing of both men, and the able solo support given them by Flanagan and Puma. Donaldson’s fine drums were recorded crisply.

Jaspar’s set is more routine, with a relaxed mood on Blues, more variations on I’ll Remember April and Flute Bob.

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Liner Notes by Ira Gitler

Jazz polls very often prove nothing, especially in the area of the listings which follow the first few names. Something conclusive, however, that did come out of the 1956 Down Beat poll was the recognition of the flute. Emerging from the miscellaneous instrument category, it was given its own listing place.

Most of the flutists in jazz today also play reed instruments; the majority are better, or equally, known on saxophone and/or clarinet and their names can be found in those divisions of the polls too. Bud Shank, Buddy Collette and Sam Most are three who appeared in 1957.

Herbie Mann, who won the Down Beat race in 1957, still plays the tenor but since he heavily emphasizes the flute it came as no surprise that he was not listed in the tenor section. Bobby Jaspar, the seventh place finisher on flute, did not receive the fifteen votes necessary for listing in the saxophone division. Neither did Frank Wess, who, like Bobby, is primarily a tenor player. Of course there are less flutists to distribute the votes among but it seems if you devote a fair amount of time to the flute, people are apt to consider it as your main instrument. The flute has become full-fledged.

Those of you who own, or have heard, Flute Soufflé (Prestige 7101) will remember the group heard here on side A of Flute Flight. It consists of the Mann-Jaspar tandem backed by Joe Puma, Tommy Flanagan, Wendell Marshall and Bobby Donaldson. Unlike Flute Soufflé, where Herbie and Bobby played saxophone solos as well, this is all flute.

On Tutti Flutee, Mann is heard on the alto flute. This, in years gone by, was erroneously called the bass flute (there is no such animal) but actually bears the same relation to the flute (soprano) that a viola does to a violin. Tutti Flutee is a blues of ten minutes which is inaugurated by the rhythm section and a Tommy Flanagan solo. After Joe Puma’s contribution, Herbie and Bobby, in that order, trade “twos” for two choruses. Then Mann blows four choruses in which he makes use of long, mournful tones. Jaspar’s four are marked by a swifter, multi-noted style. Wendell Marshall’s big-toned bass comes in for four choruses and Bobby Donaldson closes the themeless number with a chorus of brush improvisation on snare and cymbal.

Joe Puma’s riffy Be-Do completes the first side. The solos on this 24 bar pattern are by Puma, Mann, Flanagan and Jaspar.

Side B is from another date but again brings back Jaspar, Flanagan and Donaldson. Eddie Costa’s vibes fill out the front line while Doug Watkins on bass completes the rhythm section.

Flute Bass Blues is stated in unison by Jaspar and its composer, Watkins, in the first chorus. Costa joins them in the second chorus and then takes the first solo. Bobby has the next one and is followed by Flanagan and Watkins. Doug’s stint leads back into the final theme.

Jaspar’s written contribution to the session is a variation on a set of changes that are very popular with modern jazzmen. Solos on this swinger are by Jaspar, Costa and Flanagan who after they go around once in this order, each come back for a second turn. After they then trade thoughts with Donaldson, the Flute Bob melody re-enters to close things out.

A minor-key, soul consoling, opus of 32 bars is Solacium by Tommy Flanagan. Tommy shows, in his writing, the same melodic gift that his playing possesses. Solos are by Jaspar, Costa and Flanagan followed by a half chorus of four bar exchanges between Jaspar and Costa. The original melody re-enters at the bridge and is carried to completion.