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.
Do It All Night is Curtis Mayfield's flimsiest solo album yet, an indifferent collection of flaccid disco music. God knows, Mayfield has usually been uneven, but until now he's always managed to crank himself up at least once per LP and push his pretty, quavery voice over the line into conviction. Even on an outright bad record like Sweet Exorcist, there was that amazing title song, with its fluky, amiable beat and the outrageously funny conceit of its main character.