Those two musical worlds first converged in the 1947 Herd whose new book was shaped by the arrangements of Ralph Burns, Jimmy Giuffre and Cohn and whose decidedly Lestorian tenor section (Stan Getz, Zoot Sims and Herbie Steward) was spotlighted along with baritone saxophonist Serge Chaloff on Giuffre's Four Brothers (see Mosaic MD7-223). The success of that piece led to recording projects like the 1949 Prestige session Stan Getz And His Four Brothers with Sims, Cohn, Allen Eager and Brew Moore. As its album title implies, this 1955 session is also an outgrowth of that phenomenon.

These "brothers" projects, though competitive, were not knock-down, drag-out tenor battles in the tradition of Dexter and Wardell or Ammons and Stitt. They were more co-operative in spirit and done with the grace one would expect of any Pres disciple. Tenormen like Cohn, Perkins and Kamuca generated their intensity with a low flame and high heat. Their improvisations are meticulously driven by a rhythm section headed by Hank Jones.

Material for this project was selected from Nat Pierce, Bill Potts and Bob Brookmeyer as well as the three saxophonists. The choice of these three outside writers was rather inspired since you'll also get a hell of an arrangement delivered with a great tune. Pierce was well established at the time as pianist and arranger for Herman's band. Brookmeyer had already established his skills as a composer and valve trombonist with Stan Getz and Gerry Mulligan. Washington D.C. arranger Potts was the new kid on the block, having just begun to arrange for Herman, Stan Kenton and others. What they contributed are real compositions, not just vehicles for blowing.

This was the first and only meeting by this tenor triumvirate. The following year, Perkins and Kamuca would cut a couple of albums together in Los Angeles and Al Cohn would renew his relationship with Zoot Sims. It was Cohn and Sims who carried on the tradition for the next two decades.