Billy Taylor Trio – With Cándido (1956)

Prestige – PRLP 7051Rec. Date : September 07, 1954 Piano : Billy TaylorBass : Earl MayCongas : CándidoDrums : Percy Brice Listening to Prestige : #120Stream this Album Billboard : 09/01/1956Score of 79 A re-issue of all the material on Prestige 10-inch LP 188 plus two previously unrecorded selections: A boppish Taylor original Declivity with some nice work by Cándido on conga

Gene Ammons – All-Star Sessions (1956)

Prestige – PRLP 7050Rec. Dates : March 5, 1950, October 28, 1950, January 31, 1951, June 15, 1955 Baritone Sax : Gene Ammons, Sonny StittTenor Sax : Gene Ammons, Sonny StittAlto Sax : Lou DonaldsonBass : Tommy Porter, Gene Wright, Addison FarmerDrums : Jo Jones, Wes Landers, Art Blakey, Kenny ClarkeTrombone : Chippy OutcaltTrumpet : Billy Massey, Art FarmerPiano : Duke Jordan, Junior Mance, Charlie Bateman, Freddie ReddVocals

Bennie Green – Walking Down (1956)

Prestige – PRLP 7049Rec. Date : June 29, 1956 Trombone : Bennie GreenBass : Sonny WellesleyDrums : Bill EnglishPiano : Lloyd MayersTenor Sax : Eric Dixon Listening to Prestige : #176Stream this Album Miami HeraldUnknown : 01/06/1957 If you go for the trombone in a big way, here are two albums worth a listen. One is Walkin’ Down, quintet music from Bennie

Jackie McLean – 4, 5, and 6 (1956)

Prestige – PRLP 7048Rec. Dates : July 13, 1956, July 20, 1956 Alto Sax : Jackie McLeanBass : Doug WatkinsDrums : Art TaylorPiano : Mal WaldronTenor Sax : Hank MobleyTrumpet : Donald Byrd Listening to Prestige : #179Stream this Album Billboard : 11/24/1956Score of 77 Altoist McLean is heard in three different frameworks. In the quartet he is assisted by Mal Waldron,

Sonny Rollins Quartet – Tenor Madness (1956)

Prestige – PRLP 7047Rec. Date : May 24, 1956 Tenor Sax : Sonny Rollins, John ColtraneBass : Paul ChambersDrums : Philly Joe JonesPiano : Red Garland Listening to Prestige : #172Stream this Album Billboard : 11/10/1956Score of 76 Rollins, a prime influence among modern tenors, is rapidly gaining stature in the market, and this set should have a long life. The

Phil Woods Septet – Pairing Off (1956)

Prestige – PRLP 7046Rec. Date : June 15, 1956 Alto Sax : Phil Woods, Gene QuillBass : Doug WatkinsDrums : Philly Joe JonesPiano : Tommy FlanaganTrumpet : Donald Byrd, Kenny Dorham Listening to Prestige : #174Album is Not Streamable Billboard : 11/24/1956Score of 80 The “pairs” here are two trumpets (Kenny Dorham and Donald Byrd) and two altos (Phil Woods and Gene Quill). Rhythm is provided by Tommy

Earl Coleman – Earl Coleman Returns (1956)

Prestige – PRLP 7045Rec. Dates : March 2, 1956, June 8, 1956 Vocals : Earl ColemanAlto Sax : Gigi GryceBass : Oscar Pettiford, Wendell MarshallDrums : Shadow Wilson, Wilbert HoganPiano : Hank JonesTrumpet : Art Farmer Listening to Prestige : #164, #174Album is Not Streamable Cashbox : 10/13/1956 Earl Coleman is a vocalist, who, in the late 1940’s, created a stir, but was sidelined because of

Miles Davis – Collectors’ Items (1956)

Prestige – PRLP 7044Rec. Dates : January 30, 1953, March 16, 1956 Trumpet : Miles DavisBass : Paul Chambers, Percy HeathDrums : Art Taylor, Philly Joe JonesPiano : Tommy Flanagan, Walter BishopTenor Sax : Sonny Rollins, Charlie Parker Listening to Prestige : #79, #166Stream this Album Pittsburgh Courier : 12/15/1956Harold L. Keith : 4 stars This is one of those things where one is hard pressed

Elmo Hope Sextet – Informal Jazz (1956)

Prestige – PRLP 7043Rec. Date : May 7, 1956 Piano : Elmo HopeBass : Paul ChambersDrums : Philly Joe JonesTenor Sax : Hank Mobley, John ColtraneTrumpet : Donald Byrd Listening to Prestige : #170Album is Not Streamable Pittsburgh Courier : 12/08/1956Harold L. Keith : 3 stars This swinging group gives a nice treatment to a quartet of opuses including Weeja, Polka Dot and Moonbeams, On

Moondog – Moondog (1956)

Prestige – PRLP 7042Rec. Date : 1956 Moondog : MoondogJapanese drums : Sam UlanoPoetry : Sakura WhiteingVoice : Suzuko“and others” Listening to Prestige : #200Stream this Album Billboard : 09/08/1956Score of 67 Moondog is one of Manhattan’s more startling “sights.” He writes a kind of music that is as unconventional as he is himself in appearance. His approach is