Acoustic Sounds and Contemporary Records present this new reissue of Phineas Newborn Jr’s 1962 Contemporary Record debut “A World of Piano!”.

Recorded by legendary engineers Howard Holzer and Roy DuNann the album also features Paul Chambers (bass), Philly Joe Jones (drums), Sam Jones (bass) and Louis Hayes (drums).

This new edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket.

Phineas Newborn, Jr. was a Jazz pianist with astounding speed, phrasing, and harmonic knowledge, plus an unmatched ability to integrate blues and gospel elements.

Side A:
1. Cheryl
2. Manteca
3. Lush Life
4. Dahoud

Side B:
1. Oleo
2. Juicy Lucy
3. For Carl
4. Cabu

If you were not aware, on this album, the quite wondrously talented Phineas Newborn Jr. leads two trios. These are not regular groups either, but brought together for the sole purpose of only creating a most delicious recording for the ages.

The first trio features Paul Chambers and Philly Joe Jones from the then Miles Davis quintet, the second Sam Jones and Louis Hayes from Cannonball Adderley’s quintet.

In truth, Phineas has also been compared to Art Tatum because he has the ability to play fast and I cannot fault such a description for it is definitely just. Indeed, and strangely, he often received unfavorable criticism for this, and some of his music was thus regarded facile, but not in my book. No sir, not in my book.

Furthermore, he actually reacted badly to this criticism and fell into depression resulting in some lengthy stays in hospital which meant, sadly for all us jazz aficionados, he thusly recorded less than he deserved to (he would record six albums over a 15-year period for the Contemporary label).

Regardless, this treasure has a fine selection of tracks, admittedly none of which are originals (but that doesn’t make an ounce of difference), most all of varying pace and emotions, one of the stand outs to me being one of the earliest foundational tunes of Afro-Cuban jazz in Dizzy Gillespie’s Latinesque Manteca and Billy Strayhorn’s jazz standard Lush Life; along with tunes by Parker, Rollins, Silver and others.

In closing, and in my humble opinion, the album deserves to be much better known because in the great world of jazz recordings there few better. The entire album is a compliment to the ears, a delight to listen to, and a perfect showcase for one of jazz’s greatest pianists.

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