"This 1965 album marks Lee Morgan's and Freddie Hubbard's final studio appearances as members of Art Blakey's Jazz Messengers. The set also includes a young John Hicks on piano, bassist Victor Sproles, and veteran saxophonist Lucky Thompson. It may lack the sheer high-energy crackle of some of the earlier Blue Note dates, there is quite a bit to enjoy here. The title tracks kicks off in bluesy style with the three-horn front line in a slightly dissonant intro before moving in a fingerpopping groover. The spunky Latin groove of "Buh's Bossa" offers Blakey's consummate chops accenting the knotty, sometimes snaky melody line with some excellent comp work by Hicks. Thompson's soprano sax makes a beautiful appearance on "Spot Session," a sultry little groover. Highlight of the set is "Freedom Monday," that offers taut hard bop lyric lines, extended harmonies in the front line -- especially between Hubbard and Morgan -- and a smoking Afro-Cuban rhythmic line highlighted by Blakey and Hicks." (Thom Jurek, Allmusic)
"Born in Columbia, SC, on June 16, 1924, tenor saxophonist Lucky Thompson bridged the gap between the physical dynamism of swing and the cerebral intricacies of bebop, emerging as one of his instrument's foremost practitioners and a stylist par excellence. Proper continues it's excellent Introduction To series with this volume of tracks that either include Lucky Thompson as a prominently featured sideman or as a leader. There are 23 tracks here which include some early rare transcriptions of Thompson with violinist Stuff Smith ("Test Pilots 1 & 2"), and Dicky Wells ("Sugar Hip"), and they traverse from the '30s through to the early '60s with his progressive big band on "Mambo in Blues" and "The Scene Is Clean." Sound is varied but is generally very good." (Jason Ankeny & Thom Jurek, Allmusic)
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