features in a pair of legendary recording dates -- from May and October of 1956 -- which would generate enough music to produce four separate long-players: , , and . Each of these is considered not only to be among the pinnacle of ' work, but of the entire subgenre as well. As with the other titles, contains a variety of material which the band had concurrently been performing in their concert appearances. In a brilliant stroke of time conservation, the scheme was hatched for the quintet -- who includes: (trumpet), (tenor sax), (drums), and (piano) -- to perform the equivalent of their live repertoire in the studio for eventual release. The results are consistently superior both in terms of song selection as well as performance. The solid nature of the unit as a singular musical force is immediately apparent. -- from the play -- includes some remarkable soloing via and . ' solos are additionally impressive, as they're derived from the same four-note motive as the melody. Hearing the many variations that he comes up with throughout the song conveys how intrigued must have been by the tune, as it stayed in his performance repertoire for decades. Tracks such as highlight the synchronic nature of as they carry each other's melodies while trading off solos. The steady syncopation of keeps the rhythms tight and the delicate interplay all the more conspicuous. offers something for every degree of enthusiast. Likewise, the quintet's recordings provide a tremendous introduction for the curious consumer. ~ Lindsay Planer