AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head

 Analogue Productions - APRJ 7074 - 180 Gram Virgin Vinyl 

Limited Edition - Pressed at QRP - Prestige LP7074

AAA 100% Analogue - Mastered By  Kevin Gray at Acoustech Mastering

Stellar playing from 4 masters of the Tenor. Swings hard ! What a beautifully mastered recording. A joy to listen too. Don't miss this one. - LP Review

The record is presented in glorious mono, as many of AP’s Prestige titles are.  Tenor Conclave plays out on a giant sound stage – deep and wide. You’d almost swear the Saxes were spread out left to right, but it’s an illusion. The detail is unbelievable with the Garland Trio floating just beneath the action before surfacing for air. They’re given ample room to breathe, and the listener’s focus and attention is rewarded without fail.  an analog release from the original master tapes with Kevin Gray’s name attached to it. One hundred percent worth it for an audiophile’s ears. You never know when winter might arrive, and you never know what the next season brings. Now is always the time.Sound 5/5 Homethreatre&Highfidelity

Part of the ultimate audiophile Prestige mono reissues from Analogue Productions — 25 of the most collectible, rarest, most audiophile-sounding Rudy Van Gelder recordings ever made. All mastered from the original analog master tapes by mastering maestro Kevin Gray. 200-gram LPs pressed at state-of -the-art plant Quality Record Pressings and plated by Gary Salstrom. Deep groove label pressings, tip-on jackets on thick cardboard stock

This unusual meeting of four tenor saxophone players from different "schools" was part of the Prestige Friday afternoon jam session series but far from a typical outing. The giant forebears of Coleman Hawkins, Lester Young, and Charlie Parker inform the backgrounds of the performers on this LP — Hank Mobley, Al Cohn, Zoot Sims, and John Coltrane — and other influences such as Ben Webster, Dexter Gordon, and the Sonnys (Stitt and Rollins) show up, too, depending on which of the four protagonists you’re talking about.

With the Red Garland Trio supplying the underpinning, the four tenors meet on the common ground of the blues ("Bob’s Boys"), "I Got Rhythm" ("Tenor Conclave"), and two old standards. (The originals are by Mobley.) Rather than the stylistic differences, what stands out here is the compatibility and spirit of the four meeting on this common ground in an uncommon session.

1956's Tenor Conclave features four unique tenor saxophone greats from disparate "schools" of jazz joining forces including none other than

Musicians: