The first thing that strikes you about this compilation from the Jazz Dispensary—a subsidiary of the famous Concord label—is the classy packaging. Devoid of any type, the front and rear covers are adorned with retro-style paintings by Liam Cobb evoking an early 60s comic aesthetic. An inky blue late night scene is lit by a crescent moon. Raindrops—or perhaps snowflakes—drift slowly earthwards, glowing briefly as they catch the yellow beams from a thousand lit windows. Remembering day, picturing the sun, recalling warmth. Inside is a sleeve with another Cobb painting. Zooming in to street level we see shadowy figures heading towards a lit doorway. It is obvious where they are going, even without text. Jazz Dispensary—Night Lights.

Turn over the inner sleeve and there are two columns of artists displaying the tracks each has contributed to the compilation. In orthodox jazz fashion, the players and their instruments are listed, as are the albums and years the performances were released. Eleven pieces recorded for the Prestige or Moodsville record labels between 1959 and 1963 recline under the umbrella of cool jazz, offering what the hype sticker calls “mellow, forlorn, and hauntingly beautiful tunes”. Tenor saxophones dominate, with half of the artists having this as their primary instrument. The breathy, husky sounds of the tenor whisper of late nights and clandestine trysts. Lest it all seem too laid back and saxophonically sexy, some gently blue seasoning is provided by guitarist Kenny Burrell (“No more”, 1963) and Red Garland’s piano trio (“I heard you cried last night”, 1959). The flute of multi-instrumentalist Frank Wess drops opalescent lines like silver starlight, while Kenny B pops up again with Coleman Hawkins. There is also a track by Lem Winchester, a lesser known vibraphone player in the Milt Jackson style. Legendary trumpeter Clark Terry chimes in with a lovely “This is always” (1961), featuring Junior Mance on piano.

The tenor players include some of the most famous names of 50s and 60s jazz: Gene Ammons, Eddie “Lockjaw” Davis (with Shirley Scott on piano), veteran Coleman Hawkins and rising star Yusef Lateef. The side-players are top flight too. Bass players appearing on Night Lights include Ron Carter, George Duvivier, and Eddie Jones. As expected, the backing is always understated and the solos smooth as an aged single malt. That is a part of what makes this collection a very attractive one for those quite new to jazz. This is classic, laid back “cool” jazz, with much to soothe and charm and little to ruffle auditory feathers. It could soundtrack a chic dinner party—cocktail phase—or ease the wind down when the guests have departed and the hosts subside onto the couch with a sigh and a nightcap. 

Thanks to Rudy Van Gelder’s recording skills the sound quality of this release is excellent, and the “midnight blue” vinyl exquisite. Just gaze at this lovely disc and you’ll instantly feel several degrees more chilled. And when you spin it, you will soon be convinced that jazz might indeed be overdue for a mainstream comeback.

Originally posted at Discrepancy Records —July 2025.

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