The early material consists of Griffin’s three Blue Note albums and his first Riverside, presenting the virtuoso tenorman from Chicago with no holds barred and perhaps more under the influence of Von Freeman than subsequently. All but one have him as the solo horn with rhythm, among whom Wynton Kelly plays on three dates, while the drums of Roach, Blakey and Jones aren’t bad at all (The Congregation is comparatively less exciting, perhaps because of Kenny Dennis, who was soon to become Mr. Nancy Wilson). On the appropriately titled A Blowing Session, Griffin actually sounds more fluent and inventive than either Mobley, Morgan or Coltrane, which is something to hear. The mid-1970s quintet with Lockjaw is less combative, being a frontline reunion from 15 years earlier plus a Europe-based rhythm-section. But, though the programme and its treatment is entirely straightahead, there are many moments of excitement, the opening blues featuring the tenors exchanging fours and twos and then soloing simultaneously. Both genuinely inspired by their frontline companion, they even sound like each other at moments.