Audio : February, 1958
Charles A. Robertson

Subtitled as a blowing session, the second album bearing the name of the Chicago tenor saxist Johnny Griffin is just like that, in spite of the programming of two Jerome Kern ballads. The Way You Look Tonight is taken at a rapid tempo which slows only for All The Things You Are, for Griffin is out to meet the challenge of John Coltrane and Hank Mobley, two other powerful performers on his instrument. All are uncompromising in their attack, and the supercharged atmosphere is mitigated only by the crystal-clear solos of pianist Wynton Kelly and bassist Paul Chambers. Lee Morgan, on trumpet, balls into the spirit of things and uses his surefire technique to show his brilliant, brassy side. Art Blakey confines his drumming to the main task of putting the tenormen through their paces. Though an accurate picture of their contrasting personalities emerges, it is all on the level and must be filled out elsewhere. The two originals by Griffin carry the descriptive titles of Ball Bearing, a well-oiled vehicle for plunging solos, and Smoke Stack, a darkly churning blues.

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Billboard : 10/28/1957
Score of 76

A “cooking” jam session in the “hard,” modern idiom. Exceptionally fine rhythmic support of the front line – J. Griffin, J. Coltrane, H. Mobley, tenors; Lee Morgan, trumpet, and the beat and continuity of solos should make this an interesting item for the modern buyer. The tenorists, tho stylistically related, are individual enough to make for contrast.

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Washington Post
Paul Sampson : 01/05/1958

Coltrane joins Johnny Griffin, another member of the “hard” tenor school in an exciting Blue Note LP, Johnny Griffin. Griffin’s notes sometimes flow faster than his ideas, but his nervous excitement is compelling. Others on the record include Lee Morgan, Hank Mobley, Wynton Kelly, who has a lightly tripping piano solo on All The Things You Are, Paul Chambers again and Art Blakey. This is more convincing than most solo sessions. Recommended.

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Down Beat : 01/09/1958
Ralph J. Gleason : 4 stars

Unquestionably Johnny Griffin can play the tenor saxophone faster, literally, than anyone alive. At least he can claim this until it’s demonstrated otherwise. And in the course of playing with this incredible speed, he also manages to blow longer without refueling than you would ordinarily consider possible. With this equipment he is able to play almost all there could possibly be played in any given chorus.

However, his style, which is eloquently described as “raucous” and later as “febrile” by Ira Gitler, seems suitable only for the expression of one emotional quality. For instance, despite changes in tempo which range down from hysterical to groovy he still sounds febrile (look it up, it’s a good one).

Coltrane, on the other hand, plays almost as fast, apparently and never sounds hysterical at all. Instead he sounds, difficult as it may be to catch him, as though he were in complete control of the situation. Mobley, with his furrier tone, is a pleasant contrast. Lee Morgan, in his swiftly passing appearances in between tenors, sounds excellent; much better than on some of his other LPs.

Art Blakey, who sets off a frightening swing throughout, does exactly what upsets me during track 2. When Wynton Kelly is soloing on Ball Bearing he upstages the soloist completely with all sorts of bits of business so you cannot concentrate on the piano. Contrast this to the way in which he leaves Kelly alone to catch the listener in the solo on All the Things You Are.

The four tracks are each long ones. The second, which is just under eight minutes, is the shortest and on the final track at last count the Blakey rocket blastoff had occurred no less than 12 times.

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Liner Notes by Ira Gitler

During the course of the liner notes for his first Blue Note album (BLP 1533), Johnny Griffin was quoted as saying that he preferred to “make it at home” (home being Chicago). Since the time of that LPs release, Johnny has changes his mind at the urging of Art Blakey and with his presence in the drummer’s Messengers has swelled the group to sextet size.

When the augmented Messengers came to New York, it so happened that several other of the top small groups were also in town, either playing or laying off. Most of the musicians in these combos are friendly with each other and enjoy playing together. When someone like Johnny Griffin comes to town and causes much comment, the other are quite anxious to blow with him. What you hear here is exactly that… a blowing session among the various leading lights of some of the East’s important jazz organizations.

At the center of the session is the tenor sax triumvirate of Griffin, John Coltrane and Hank Mobley.

Mobley is the former Messenger star who is now doing his shining with the Horace Silver quintet while Coltrane is the young man who rose to prominence in 1956 with the now disbanded Miles Davis quintet.

The three have similar backgrounds in many ways. All of them have payed their dues in rhythm and blues bands. They also played with orchestras, Griffin with Lionel Hampton and Coltrane with Dizzy Gillespie. Trane also played with a Gillespie combo as did Mobley. Hank was with Max Roach before that and Griffin spent two fruitful weeks with Thelonious Monk in Chicago.

Despite the fact that they grew up musically in the same environment and have been influenced, in general, by some of the same musicians, the three tenors have very different conceptions, however forceful they may all be.

Griffin is more extrovert in a raucous manner and his rapid fire delivery stamps him as one of “the fastest guns alive.” Mobley has a big, round edged sound and an even, logical conception. Coltrane is the most unconventional of the three with his vocal tone and very personal idea patterns.

To add some brass bite to the session comes Lee Morgan, the extremely youthful trumpeter from the Dizzy Gillespie band. Lee is a newcomer but through his Blue Note records (BLP 1538, BLP 1540, 1541, BLP 1557) and solo appearances in the Gillespie organization he has already carved out a reputation for himself. He comes from the tough, brilliant side of the modern trumpet tree out of Gillespie, Navarro and Clifford Brown.

Another member of the Gillespie organization who lends who lends his ample talent in both solo and ensemble is pianist Wynton Kelly. Wynton, who has been with the Art Farmer–Gigi Gryce group and accompanist to Dinah Washington, is another of the many modern musicians who made their solo debuts on Blue Note. Here he offers several sparkling solos in the Bud Powell idiom and blends perfectly in to the rhythm section sparked by Messenger chieftain Art Blakey and former Miles Davis bassist Paul Chambers.

Two originals and two standards comprise the raw material for the blowing. As in any session, the standards are ones which are familiar to all in order to facilitate improvisation. The originals are by Griffin.

Johnny opens a breakneck tempo version of Jerome Kern‘s The Way You Look Tonight with a chorus of melody before going into three febrile improvisatory cantos. Lee has two swift, brassy ones before Hank takes over for one quick chorus. Coltrane comes sailing in for two before Griffin and Art Blakey enter into a heated exchange that highlights each one’s virtuosity. Johnny then carries the theme out with the rhythm section coming to the top for the bridge.

Coltrane has the first solo on Ball Bearing and makes the most of the intriguing harmonic pattern. Morgan follows in a wonderful groove as the rhythm section lays down a straight and wide carpet to walk on. Griffin then has two choruses that will awaken your sense and Mobley continues the excellent mood. All the tenormen are in fine form on this one. Kelly, who has the next solo spot is no less effective. After a short bit by Blakey, the last part of the theme is restated.

Another Jerome Kern evergreen, All The Things You Are, opens side two. Griffin carries the melody chorus again in a medium up setting. He then has three choruses of improvisation, reaching a peak in number three. Coltrane follows with his singular interpretation and Morgan’s trumpet sings a couple before Mobley states his case clearly and emotionally. Kelly’s chorus is a joy both rhythmically and melodically. Chambers then has his first solos of the session before Griffin and Blakey have a brief word or two and Johnny takes it out.

Smoke Stack, a blues, has an introduction by Kelly followed by its simple line and an immediate catapulting action by Griffin who is both fast and funky. Morgan, cooking hotly, is next followed by eight choruses of Mobley and seven of Coltrane. Kelly has four before four by Chambers. Griffin and Blakey then converse tersely and the theme is riffed to completion.