Against an all-star background, this album re-unites Don Redman and Coleman Hawkins who, for twentyfive years, have stood as major figures in the realm of American jazz. Don Redman’s name has become identified with a particular style of arranging and composition that has its roots deep in the formative era of big band jazz. The Redman stamp is unmistakable, for the music is vibrant, imaginative, tightknit and impulsive. He is a master of orchestral color, mass sound and contrasting moods. Coleman Hawkins 'The Hawk' or 'The Bean', as he is affectionately known in the trade, has been the guiding light in the liberation of the tenor saxophone. He pioneered and developed the solo rhapsodic style and solo jump style, now regarded as milestones in broadening the scorpe of the instrument. The soaring drive of the Coleman Hawkins tenor consumes a roadful of musical mileage in the jump opener that makes the scene of the Last Night In Town. Then, the road leads To The River a perceptive spiritual-in-jazz jog tactfully arranged by Don and featuring a guitar-vibes unison. In Ballad 'n' Bounce, which follows, the orchestra responds with a matchless swing production head by Al Cohn’s tenor and assisted by Hank Jones at the piano, Al Hall behind the bass and Charlie Shavers on trumpet. The rampaging pace is pacified by the easy-listening Dreamy Melody, up next, which highlights the imposing tones of Sonny Russo’s trombone. The side concludes under the scorching sun and amid the burning sands, where Don and the jazz nomads have found an oasis – the inherent booming beat of a Desert Dance. The flip over stars off with a madball bash whose name is derived from an old Scotch-English Ballad. It’s a rhythm rumpus with a devil-to-pay flair called Chevy’s Chase. Then 'The Hawk' makes like Santa with a bag-full on tenor tricks in a tune-tinseled ballad that describes Christmas In The Valley. This scintillating holiday setting is turned into a veritable Donnybrook in the jump session that follows, as Charlie Shavers on trumpet, Al Cohn on tenor, and trombone-man Jimmy Cleveland become the solo contenders. A singing blues with a honky-tonk beat brings back Coleman Hawkins with some solo work that demonstrates why he has carved a deep impression on most tenor sax players in jazz. The tune is a wailing resolution that says – Ain’t Gonna Get Fooled Again. Don Redman himself joins Osie Johnson in tympany to rap out the rhythm of jungle madness – the primitive, haunting insinuating beat which accents the sorcery and magic passion of the West Indian an Africn rituat called …. Voodoo.