- For sale individually and as part of Analogue Productions’ Prestige Mono Series !
- Cut from the analogue masters by renowned mastering engineer Kevin Gray !
- 180 gram pressing by Quality Record Pressings !
- Deluxe high-gloss tip-on album jacket !

"...they attempt to be as faithful to the original LPs as possible. They are remastered from the original mono or stereo tapes, come in authentic glossy 'tip-on' jackets, retain the flat edge of original pressings, and even have the 'deep groove' from the stamper in the label area. What they don't have is the cost of original pressings. So many of the titles in the series fall into the several-hundred-dollar range in near-mint condition, a few topping out in the thousands, making the $30 price of each Analogue Productions LP seem like a bargain if they deliver sonically, which they do in abundance. ... both (this title and Coltrane were pressed at Quality Record Pressings (QRP) and continue the excellence for which this newest pressing plant has become known: nonexistent surface and groove noise and the sharp delineation of musical detail. ... with these latest Prestige LPs, Analogue Productions has attained a rare trifecta : authentic look, authentic sound, and authentic manufacturing". - Music = 3.5/5; Sound = 3.5/5 - Marc Mickelson, The Audio Beat, Feb. 12, 2013. To read the entire review click here: http://www.theaudiobeat.com/music/all_night_long_coltrane_lp.htm

"The mono sound is pure of tone and wonderfully balanced, which adds to the sense of camaraderie that permeates this session". Sonics = 4/5; Music = 4/5 - Wayne Garcia, The Absolute Sound, January 2013

"Recorded by Rudy Van Gelder in glorious mono in his parents' Hackensack New Jersey living room, the sound is excellent ... Analogue Productions and Kevin Gray have done a fine job in remastering the tapes, and the packaging is gorgeous". Recording = 8/10; Music = 9/10 - Dennis D. Davis, Hi-Fi +, Issue 92

One of the great jam session recordings of the 1950s, All Night Long was under the relaxed direction of Kenny Burrell. The guitarist gathered together some of the finest young players on the New York scene, including Donald Byrd on trumpet and tenor saxophonists Hank Mobley and Jerome Richardson, one of the unsung heroes of the flute in jazz. Mal Waldron, Doug Watkins and Arthur Taylor were the rhythm section. The musical formats were uncomplicated; "All Night Long" a blues with a bridge, Waldron’s "Flickers" a 16-bar pattern, Mobley’s two originals based on familiar 32-bar chord sequences. From these simple, classic bases were launched performances with the hallmarks that have long identified any Burrell project: Relaxation, swing and high standards of musicianship.