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Plenty, Plenty Soul
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Performer Notes
  • Personnel: Milt Jackson (vibraphone); Cannonball Adderley (alto saxophone); Frank Foster, Lucky Thompson (tenor saxophone); Sahib Shihab (baritone saxophone); Joe Newman (trumpet); Jimmy Cleveland (trombone); Horace Silver (piano); Percy Heath, Oscar Pettiford (bass); Art Blakey, Connie Kay (drums).
  • Producer: Nesuhi Ertegun.
  • Reissue producer: Bob Porter.
  • Recorded at Coastal Studios, New York, New York on January 5, 1957 and Capitol Studios, New York, New York on January 7, 1957. Includes liner notes by Nat Hentoff.
  • Digitally remastered by George Piros (Atlantic Studios, New York, New York).
  • Personnel: Milt Jackson (vibraphone).
  • Liner Note Author: Ralph J. Gleason.
  • While Milt Jackson's vibes playing, in both his solo recordings and his work with the Modern Jazz Quartet, could be characterized as sophisticated and cool, it is also lyrical, blues-based, and fiercely swinging. These qualities are front and center on PLENTY, PLENTY SOUL, an all-star session that features arrangements by Quincy Jones, and musical contributions from Cannonball Adderley and Lucky Thompson (saxes), Horace Silver (piano), Art Blakey (drums), and Oscar Pettiford (bass).
  • Under Jones's direction, the songs here have plenty of punch and room for improvisation, and Jones contributes two original compositions, "Boogity Boogity" and "Blues at Twilight." Aside from the Adderley-penned "Sermonette," the rest of the tunes are Jackson's, and display the recognizable complexity, grace, and--yes--soul, of the leader's best work. In addition to Jackson's trademark vibes skills, the focus and intensity of the personnel astonishes--superb rhythm backing, Silver's highly melodic piano solos, and Thompson and Adderley's sax work (by turns lyrical and remarkably athletic) all enhance this classic Blue Note album.
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