Although the vocal trio Andy Bey & the Bey Sisters lasted 11 years, it wasn't as well documented as it should have been. The trio, which consisted of Andy Bey and his sisters Geraldine and Salome, was formed in 1956 and broke up in 1967 – and during that 11-year period, they only recorded three albums. The first was provided for RCA Victor in 1961, and the other two, Now! Hear! and 'Round Midnight, were recorded for Prestige in 1964 and 1965, respectively. In late 2000, those two Prestige dates were reissued on this excellent CD.
Official 2016 remastered collection of 5 albums recorded for Prestige, housed in replica card sleeves with full original artwork. Includes 'Worktime', 'With The Modern Jazz Quartet', 'Tenor Madness', 'Moving Out', & 'Saxaphone Colossus'. The quality of the music collected here needs no comment, really. But what I like about this series of box sets is that the original LP covers are faithfully reproduced on the small paper sleeves, front and back, just like the Japanese do it with their ridiculously expensive miniature CD paper sleeves. All relevant discographic data, like musicians, recording dates etc., are listed on the CD labels, which is unique for this kind of box sets and a great service if you ask me.
This CD compilation presents, on 8 discs, 17 recording sessions made between 1951 and late 1956 by the extraordinary trumpeter, leader, composer, and perpetual catalyst–Miles Davis. Featured in this collection are such major artists as Charlie Parker, Thelonious Monk, Charles Mingus, Sonny Rollins, Lee Konitz, and the original Davis Quintet: John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. The expanse of Miles Davis's recordings for Prestige Records, the California analogue to New York's Blue Note, is huge. In terms of artistic development, the eight CDs in this box span Davis's development from tentative searching through the full bloom of his first great quintet, whose frontline boasted Davis and a young John Coltrane.
Super Soul was a little funkier than much soul-jazz that had passed before 1967, and its horn parts sometimes slanted more toward pop and soundtrack territory. That was particularly evident on one of the strongest cuts, the opening "Why Don't You Do Right?," where the rhythm (particularly with the aid of a conga drum) goes into grooves that are at least as much soul as jazz, and the horns have a TV adventure theme-like flavor. The album's a little on the innocuous side, even for a genre (Prestige 1960s soul-jazz) that can be pretty homogeneous. It's easygoing background party music, though Holmes summons an interesting light, prickly, almost vibes-like organ sound at times, as on the solo for the cover of Marvin Gaye's "Ain't That Peculiar."