Personnel: Milt Jackson (vibraphone); Cannonball Adderley (alto saxophone); Frank Foster, Lucky Thompson (tenor saxophone); Sahib Shihab (baritone saxophone); Joe Newman (trumpet); Jimmy Cleveland (trombone); Horace Silver (piano); Percy Heath, Oscar Pettiford (bass); Art Blakey, Connie Kay (drums).
Producer: Nesuhi Ertegun.
Reissue producer: Bob Porter.
Recorded at Coastal Studios, New York, New York on January 5, 1957 and Capitol Studios, New York, New York on January 7, 1957. Includes liner notes by Nat Hentoff.
Digitally remastered by George Piros (Atlantic Studios, New York, New York).
Personnel: Milt Jackson (vibraphone).
Liner Note Author: Ralph J. Gleason.
While Milt Jackson's vibes playing, in both his solo recordings and his work with the Modern Jazz Quartet, could be characterized as sophisticated and cool, it is also lyrical, blues-based, and fiercely swinging. These qualities are front and center on PLENTY, PLENTY SOUL, an all-star session that features arrangements by Quincy Jones, and musical contributions from Cannonball Adderley and Lucky Thompson (saxes), Horace Silver (piano), Art Blakey (drums), and Oscar Pettiford (bass).
Under Jones's direction, the songs here have plenty of punch and room for improvisation, and Jones contributes two original compositions, "Boogity Boogity" and "Blues at Twilight." Aside from the Adderley-penned "Sermonette," the rest of the tunes are Jackson's, and display the recognizable complexity, grace, and--yes--soul, of the leader's best work. In addition to Jackson's trademark vibes skills, the focus and intensity of the personnel astonishes--superb rhythm backing, Silver's highly melodic piano solos, and Thompson and Adderley's sax work (by turns lyrical and remarkably athletic) all enhance this classic Blue Note album.