Billboard : 12/30/1957
Score of 78

A blues set in feeling, and ofttimes in form, that is most notable for the solo contributions of trumpeter Thad Jones and guitarist Kenny Burrell. Because the writing is skeletal, it is the assemblage of solos and conversations among the players that lends form and meaning. Most successful tracks: Empty Street and Count One establish the communal feeling of the well-played blues. Could be appealing to both traditional and modern buyers because of blues format.

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Cash Box : 2/1/1958

The platter is dedicated to the blues and the jazz notables performing off some feelingful interpretations. The selections, all Waldron originals, consist of a fast number Steamin’, a medium beat opus Count One, and two blues ballads Empty Street and Blue Jelly. Thad Jones (trumpet) and Frank Wess (flute and tenor sax) offer some stirring solo work throughout the set. Well done.

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Audio
Charles A. Robertson : March, 1958

Thad Jones and Frank Wess, two members of the Count Basie band, join a versatile rhythm section in a session which is aptly styled by the album title. The playing is of the relaxed and recreational sort favored by musicians in the early morning hours after a night on the stand. The lines by pianist Mal Waldron provide for an examination of the numerous facets of the blues. He presents them in effective statements as a firm base for the soloists. In enlarging upon them to suit their fancy, they incline to the subtle and tender moods of an idiom too often used only to express the more obvious emotions.

Generally classed as one of the brassier trumpet men, Jones can make a clarionlike declamation of the most sticky ballad. Here he uses a mute to subdue his horn to an introspective pitch and constructs choruses which are all the more passionate for their restrained power. Its telling effect is pronounced in the opening bars of the slow Empty Street, where Wess adds a perceptive flute obbligato. Wess plays tenor sax on the rapid Steamin’, a happy opener, and the Basie-oriented Count One. He returns to flute on Blue Jelly for exchanges with Jones and Kenny Burrell, who again demonstrates his ability to illuminate the blues and to step back form the solo spot to resume the duties of a rhythm guitarist. This adroitness, combined with good taste, is held in common with bassist Paul Chambers. Art Taylor fills out the section on drums.

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High Fidelity : September 1958

Four long blues, from fast to slow, punched out by a group that includes Thad Jones, trumpet; Frank Wess, flute and tenor saxophone; Kenny Burrell, guitar; and Mal Waldron, piano. There is less straining here than in the usual blowing session, and one piece, Empty Piece, has a unity of conception building it into an effective mood setting.

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Miami News
William G. Moeser : 03/16/1958

In the wee hours – when the musicians chores are over for the evening – the “juice” begins to flow behind closed doors and the temperature reading is warm and cooler as the After Hours session begins.

That’s the title of a recent Prestige release that features the relaxed, mature blowing of a sextet of Eastern jazz artists who set down the story of what the blues is all about. There is a fast blues, a medium blues and two ballads. The “Hours” album features Thad Jones, trumpet; Frank Wess, flute and tenor sax; Kenny Burrell, guitar; Mal Waldron, piano; Paul Chambers, bass; and Art Taylor, drums.

Chambers’ solo on Blue Jelly and Wess’ haunting flute obligato in Empty Street provide deft touches in the ballads. Steamin’ is the frantic opener.

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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.

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After Hours is spotty. It features Thad Jones on trumpet and Frank Wess on tenor and flute; the delightful interplay between flute and muted trumpet on Blue Jelly is the feature of the set, for me. This is the sort of drive one gets from East Coast music, plus the delicacy usually associated with West Coast groups.

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Down Beat : 03/06/1958
Don Gold : 4 stars

Mature musicianship characterizes this blowing session. These are appealing statements and conversations by a group of mature jazzmen.

Essentially a blues program, the charts (all by Waldron) are more jumping off points than inherently valid compositions. Wess’ playing is a gratifying blend of pre-Bird and contemporary influences. Jones, serving a vital but largely unrecognized role in the Basie band, here has the opportunity to further his aims as a soloist and does so convincingly. Burrell, like his companions, manifests a basic appreciation of jazz tradition, including an awareness of the contributions of Charlie Christian and Freddie Green.

Waldron, a consistently sophisticated performer, avoids chic mannerisms in favor of rooted stylistic expression. Chambers supports and solos forcefully and Taylor keeps everyone moving.

The four tunes represent a varied array of tempos, but the members of the group are never ill at ease. This is professionalism and, as such, it’s recommended.

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Liner Notes by Ira Gitler

Essentially this is an album of moods: blue ones for that period of the early morning known as “alter hours”. For musicians, “after hours” are after the job hours which serve as their playtime. Recreation takes different forms and sometimes it consists of more music making, purely for pleasure, in a relaxed atmosphere.

Here, as usual, the blues are both happy and sad. There is a fast blues, a medium blues and two blues ballads. Since this is an “after hours” session, the emphasis is on blowing and Mal Waldron brought in lines with this in mind. Mal is a versatile writer who can communicate convincingly in several areas of the jazz idiom. His solos are effective statements too. The pen is mightier than the sword but the fingers are also strong.

The other soloists, like Waldron, have a good grasp of the blues feeling. Thad Jones and Frank Wess have paid their dues in the blues and their recent lengthy association with Count Basie‘s orchestra qualifies them as B.A’s in Music with MA’s in the blues.

Kenny Burrell, taking his inspiration from Charlie Christian, is, basically, one of the bluesiest musicians around. His very sound weds the thematic content of the blues in what is a highly compatible marriage.

Paul Chambers and Art Taylor meld together beautifully due to many previous, mutual working and jamming events. With Waldron and Burrell (when he plays rhythm guitar) they form a closely allied rhythm section Chambers’ solos, as always, are a delight.

A fast blues, Steamin’, opens the after hours session. An eight bar introduction by Taylor leads into theme carried in a ball-tossing manner by Jones and Wess (on tenor). Frank has the first solo followed by Burrell. Thad is third with a muted workout and Frank returns, this time on flute. Then the two trade four bar phrases for several choruses before Waldron enters. Taylor again prefaces the theme.

Blue Jelly is a line, brought in by Mal, to which Kenny added a few touches of his own. The meaning of jelly here has no connection with preserves or the blues that Billy Eckstine used to sing. “Jelly,” says Mal, “is taking it easy like when someone comes by the gig that you are working and sits in for you.”

The solos open with a muted bit by Thad followed by exchanges among Kenny, Frank (flute) and Thad. Kenny solos next and double-time is introduced in the bridge and continues to appear in the bridge of every chorus until Waldron’s solo spot. The three way conversations that preceded Burrell’s solo also preface Wess’ and Waldron’s. Chambers (arco) is heard after Mal and during his solo the double-time appears again only this time in the second eight bars and the bridge.

Count One is a medium blues with the Count Basie feel to it and a format that follows the One O’Clock Jump. After two choruses of piano by Mal there is a modulation and then the riff is played. On the base of the rhythm section, anchored by Burrell, there are spirited flights by Wess on tenor and Jones. Kenny steps out of the section for his improvised contribution; Waldron and Chambers (pizzicato) do likewise before the riff is re-stated.

A sort of after hours street scene is Empty Street described by Jones’ muted horn and Wess obligato flute. Burrell’s opener is immersed in a vat of rich blue dye. These are receptive chord changes that Waldron has set down and Wess (flute), Jones, the composer (employing his “telegraph” technique effectively) and Chambers (pizzicato) make good use of them.

BIOGRAPHIES

Thad Jones: born in Pontiac, Michigan in 1923 Played in combo with brothers Hank (piano) and Elvin (drums) in late Thirties. Worked with Sonny Stitt and others in Michigan until 1943 when he entered Army. Discharged in April 1946. Had own band; then played two years with Billy Mitchell in Detroit. Joined Count Basie in 1954. His personal style is out of the brassier division (Gillespie, Navarro) of the modern trumpet school. Can be heard in Olio (Prestige LP 7084).

Frank Wess: born in Kansas City, Missouri in 1922. Began on alto sax in Oklahoma. Played tenor sax in Washington, D. C. with house band at the Howard Theatre. In Army 1941-44. Played with Billy Eckstine, Eddie Heywood, Lucky Millinder in Forties. Returned to Washington where he studied flute in 1949. With Basie since 1953. On tenor his conception is influenced by the old as well as the new. On flute he has helped greatly to establish this instrument in modern jazz. Can be heard in Olio (Prestige LP 7084).