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Tenor Conclave is an album by Hank Mobley, Al Cohn, John Coltrane and Zoot Sims. The album was originally recorded in 1956 and issued in 1957 on Prestige Records as PRLP 7074. – Wiki

Cut from the analogue masters by renowned mastering engineer Kevin Gray

200-gram pressing by Quality Record Pressings has a flat edge profile and deep groove label, true to the original LP

Deluxe high-gloss tip-on album jacket

This unusual meeting of four tenor saxophone players from different "schools" was part of the Prestige Friday afternoon jam session series but far from a typical outing. The giant forebears of Coleman Hawkins, Lester Young, and Charlie Parker inform the backgrounds of the performers on this LP — Hank Mobley, Al Cohn, Zoot Sims, and John Coltrane — and other influences such as Ben Webster, Dexter Gordon, and the Sonnys (Stitt and Rollins) show up, too, depending on which of the four protagonists you’re talking about.

With the Red Garland Trio supplying the underpinning, the four tenors meet on the common ground of the blues ("Bob’s Boys"), "I Got Rhythm" ("Tenor Conclave"), and two old standards. (The originals are by Mobley.) Rather than the stylistic differences, what stands out here is the compatibility and spirit of the four meeting on this common ground in an uncommon session.  – Press Release

"The Mobley-penned title track commences the effort with the quartet of tenors showing off their stuff in high-flying style … After a brief introduction with all four rapidly reeling off short riffs, Mobley charges ahead into truly inspired territory. The midtempo take of "Just You, Just Me" keeps things lively with a light swinging pace that is custom-made for bringing the combo's jocular side to the surface, particularly toward the end as they "trade fours," with each tenor blowing four bars before passing the melody on.

The other Mobley composition is "Bob's Boys," and by all accounts it is the most compelling piece on the outing. The blues-based tune rollicks as Coltrane, Mobley, Cohn, and Sims find themselves configured in a seeming myriad of sonic face-offs. Wrapping up Tenor Conclave is an ultra-cool and sophisticated "How Deep Is the Ocean?" Cohn commences the long and luscious reading with a subtle strength, suggesting the powerful undercurrent flowing throughout the number. Also, listeners are treated to what is possibly Garland's finest interaction, leading right into Sims, Chambers, and finally a sublime Coltrane caboose." – AllMusic

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