All Night Long

Donald Byrd, Kenny Burrell | Format: Audio CD

Product Details

• Audio CD (July 1, 1991)
• Number of Discs: 1
• Label: Ojc
• ASIN: B000000YNM
• In-Print Editions: MP3 Download
• Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
• Amazon Best Sellers Rank: #257,965 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

5 of 5 people found the following review helpful:

5.0 out of 5 stars All Night Long - and then some, January 9, 2006

By 

Bomojaz (South Central PA, USA) - See all my reviews

This review is from: All Night Long (Audio CD)

A dynamite album all around, recorded a week after its companion disc ALL DAY LONG, with a different personnel. The title track opens the CD - it's a blues with an 8-bar bridge and sails on at medium-up tempo for over 17 minutes. Everybody gets in on the proceedings: Jerome Richardson is on flute and tenor (his only appearance on tenor on the date), and the tune goes out with characteristic 4-bar exchanges. Two minor-keyed tunes by Hank Mobley (BOO-LU and LIL' HANK) are handled nicely, both of them taken up, and Byrd's muted solo on BOO-LU is particularly fine. Two bonus tracks appear, Miles's TUNE UP and a slow, introspective version of BODY AND SOUL. There's not a dull moment on this outing; I even find it a tad better than ALL DAY LONG, but both albums are near perfect.

1 of 1 people found the following review helpful:

5.0 out of 5 stars Exemplary jam session, April 7, 2009

By 

Samuel Chell (Kenosha,, WI United States) - See all my reviews
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This review is from: All Night Long (Audio CD)

Don't know how I missed this one all these years, but when I saw Mobley was on the session, that was enough to motivate purchase. Predictably, the feel is free and loose, but not unstructured. The tunes all have some clever hooks and unexpected chord/key changes (the title song is a Bb blues that occasionally inserts an isolated 4-bar cadence). The other variation on the usual jam session format is the containment of solos--all of them brief and economical with lots of trading of eights and fours not with the drummer but among the instruments (Mobley finishes off Byrd's phrases so seamlessly you'd think he was a melodic/harmonic clone of the trumpeter). The other two marks of distinction of this session are the generous use of flute (Richardson plays on every tune and doesn't double) and a version of "Body and Soul" that features trumpet rather than tenor saxophone.

Burrell must be the most prolific of all guitarists to hit the recording studio, yet he tends to be sentenced to academia these days and scarcely mentioned in discussions of the great guitarists. He deserves better. As far as "All Night Long" goes, a listener who was unaware of the leader(s) on the date would be hard pressed to guess correctly--that's how democratic the session is in its even distribution of solos, with Richardson's flute a welcome instrumental change from, say, Curtis Fuller's trombone and, moreover, as prominent as any of the other soloists. The rhythm is tight, empathetic, and "deep," with Doug Watkins' bass especially impressive (both for his playing and the audio reproduction, which for a change is as clear as the bracing sound of Scotty LaFaro's bass that Lester Koenig and Roy DuNann were able to capture so faithfully at Contemporary Records during this time).

Mal Waldron was no Tommy Flanagan, Kenny Drew or Red Garland, but he knew how to be a team player, bringing out the best in a rhythm section, and his solos are more limited than those of the horn players. When all is said and done, this is one session that indeed could crack the dawn hours without the listener being aware of the time passing. If Mobley were on the complementary "All Day Long," I'm sure I'd have to pick that one up as well.

1 of 1 people found the following review helpful:

5.0 out of 5 stars I can play these 2 albums, day and night, night and day, December 25, 2005

By 

Jazzcat "stef" (Genoa, Italy Italy) - See all my reviews

This review is from: All Night Long (Audio CD)

All day long. All night long. This is a review for both albums which to me are five stars each, so in total you have ten stars with two cds (not bad). Still listening to these two sessions and I can't make up my mind. Which comes first? The day or the night? Which is the better one? Oh, I really can't choose. I don't choose infact. And you don't have to do it either. Day has its highlights, the opener 18 minutes loose blues for instance. This night has a tremendous, exceptional Body and soul ten minutes version (with a SPECTACULAR BYRD at the trumpet!! What a sound!!). Day has Tommy Flanagan at the piano, night has Mal Waldron. Who's the best? Try to say .. it's not that easy. Mobley played tenor sax in the night, Frank Foster took the tenor seat during the day. Both albums have Burrell, Byrd, Watkins and Taylor and it is a dream team in hard bop. In the night there was also space for some flute playing from Jerome Richardson. I love flute when a guitar is involved, I find there is a nice sound coherence. So probably I prefer the night but they're very near in my consideration, each time I play one, I have to play the other one too. These two albums are really exceptional and noone should buy one not considering the other. I feel they are very linked even if they were recorded in two different times and not, as one might want to dream, in an endless single day and night session, that would be really the coolest thing on Earth (like Hampton Hawes long session with Jim Hall which ended in three cds). Anyway, the music it is very very cool and consequent, so, who cares? I have to say Burrell played here some of his best music. Don't pass by these two cds. If you are a serious Jazz enthusiast and serious collector, you have to own these. Believe me. Two stellar sessions. Nice Christmas, thanks Ken, thanks Donald an to all the guys here!