Cut from the analogue masters by renowned mastering engineer Kevin Gray

180-gram pressing by Quality Record Pressings

Deluxe high-gloss tip-on album jacket

Personally selected for reissue by Acoustic Sounds and Analogue Productions’ CEO Chad Kassem

An all-star musician lineup: Garland, Coltrane, Byrd, Joyner and Taylor

“Like so many of these old Prestige jazz recordings, this is another LP of great music and really good sound. … Even though Red Garland is not the biggest name on this list of all-time great jazz musicians, he is most definitely the real start of this LP. The music is everything you would expect from such iconic jazz players, and the solos by Coltrane and Byrd are equally great. Add to this the superb job that Analogue Productions and Kevin Gray have done and you have a really great musical experience waiting for you.” — Jack Roberts, dagogo.com, June 2013

“Despite Coltrane’s involvement, the real star of the show is Garland, whose block chord method of playing is on full display, and his solos are what make this a standout recording. That’s not to say that Coltrane and Donald Byrds’ fine solos aren’t fascinating looks at Byrd’s early development and Coltrane’s sheets of sound period. It’s perfect for Analogue Productions’ program of bringing us very desirable classics that didn’t quite fit into the 45 RPM blockbuster sound program. Kevin Gray’s mastering of this title is masterful and compares well with the original. The new 33 RPM series from Analogue Productions has yet to produce anything less than a great version of wonderful music.” — Recording = 8.5/10; Music = 9.5/10 — Dennis D. Davis, Hi-Fi +, Issue 96

Some groups have existed only in the recording studio but have produced music of lasting value. This quintet, under pianist Red Garland’s leadership, actually did play some gigs around New York in the fall of 1957, but even if it hadn’t, the rapport in the studio would still have been powerful. Beginning with the association of Garland and sax master John Coltrane in the Miles Davis Quintet and continuing with Arthur Taylor’s trio connection with Garland, and trumpeter Donald Byrd’s having worked with all of them in one form or another, there was enough of a common spirit in the musical attitudes of all the participants. The title blues spans an entire side; the overleaf is shared by Gershwin’s “They Can’t Take That Away from Me” and Dameron’s “Our Delight.”