Happily, Blue Note Records and Michael Cuscuna have reissued this wonderfully relaxed recording, which dates from a very fertile period of the renowned jazz label's history. Tenor saxman Jordan was influenced by and shares influences with Sonny Rollins, Dexter Gordon, John Coltrane and Hank Mobley; the early inspiration of Lester Young can also be heard. On this date, the selection of tunes is pleasantly balanced between three originals, two bebop standards, and Ellington's "Sophisticated Lady." Trumpeter Art Farmer's playing is up to his usual high standard - thoughtful, sensitive and technically brilliant. Pianist Sonny Clark is captured during the most prolific phase of his ten-year recording career; together with bassist George Tucker and drummer Louis Hayes, they create a solid, swinging and simpatico rhythm section.
Little Richard had been making records for four years before he rolled into Cosimo Matassa's J&M Studio in New Orleans and cut the epochal "Tutti Frutti" in the fall of 1955, but everything else he'd done – and much of what others had recorded – faded into insignificance when Richard wailed "A wop bop a loo mop a lomp bomp bomp" and kicked off one of the first great wailers in rock history. In retrospect, Little Richard's style doesn't seem so strikingly innovative as captured in 1956's Here's Little Richard – his boogie-woogie piano stylings weren't all that different from what Fats Domino had been laying down since 1949, and his band pumped out the New Orleans backbeat that would define the Crescent City's R&B for the next two decades, albeit with precision and plenty of groove.