Kessel’s Contemporary albums have often been reissued, what with an earlier series on Original Jazz Classics, and then a pair of Avid’s Classic Albums compilations plus their partial inclusion on the recent Jasmine double CD (reviewed in Jazzwise 287). In other words, and inevitably, there have been regular duplications – so be warned.

For their addition to this Kessel reissue saga, Acrobat have concentrated on a key period in Kessel’s impressive discography by dipping into seven of his ‘name’ sessions for the LA-based Contemporary label. These started soon after he had returned from his year-long tour with Oscar Peterson’s trio and established himself in the Hollywood studio scene. Although he went on to front a great many more albums, this period under Lester Koenig’s patronage must be counted as easily among Kessel’s best.

As John Fordham put it when describing Kessel’s Contemporary records, they’re “sharp and swinging” and he’s right. Sharp in the sense that his sidemen choices and routines serve the material well, and swinging too, with Kessel’s Christian-like lines adding valuably to the momentum here. This never better than on the justly celebrated The Poll Winners album from March 1957, with Kessel alongside bassist Ray Brown and drummer Shelly Manne. Earlier the septet session from To Swing Or Not To Swing with Sweets Edison and the Lester-like Bill Perkins with pianist Jimmy Rowles supported by Mitchell and Manne, is the epitome of straight-ahead jazz. Elsewhere, there are some interesting experiments with instrumentation viz Cooper’s use of the oboe in the quintet sessions from 1954, albeit with the magical Claude Williamson on piano. So, no duds here: just a series of likeable performances by a leader at the top of his game amid a cohort of his jazz friends.