Known as two of the pre-eminent modern mainstream tenor saxophonists of the '60s with Horace Silver or Miles Davis respectively, Junior Cook and George Coleman each blazed their own trails in post-bop jazz with styles and techniques that influenced their much more renowned peer, John Coltrane. These sessions from 1977 showcase the horn players in their prime of life, invigorated to play their own music, and surrounded with like-minded experts of contemporary expressionism that lifts this music to the rafters. Legitimate stablemates in the eight-piece group, Cook's quartet with the reliable pianist Mickey Tucker, and the mighty octet of Coleman featuring Cook split the program, and both consistently prove their distinctive mettle throughout. Cook's small ensemble offers the flowing modal waltz "Sweet Lotus Lips" with an outstanding solo from bassist Cecil McBee, the light shuffle "Not Quite That" similar to Duke Pearson's "Jeanine" with Cook in a restrained Coltrane-ish mode, while the outstanding modal version of Henry Mancini's "Moment to Moment" has a bossa nova feel and palpable Joe Henderson inferences. The band does "Yardbird Suite" with Cook's tenor, not alto as Charlie Parker played on his original, sporting fluid dynamics, executed in a loose fashion, and with a delightfully playful facade. Coleman's exceptional octet, with fellow Memphis musicians, alto saxophonist Frank Strozier and pianist Harold Mabern, baritone saxophonist Mario Rivera, and trumpeter Danny Moore form one of the great front lines of all time. But sheer talent is not so much the key as is their teamwork and innate ability to play these tough, intriguing, and uplifting charts. A crazy fast unison approach contrasting mad changes by Coleman and Cook hardly suggests the melody of "Green Dolphin Street," a unique touch that sets the tone for the octet. Drummer Idris Muhammad fires up "Big George" with a hard bop fervor rivaled only by Elvin Jones -- not surprising considering this track sounds like it is based on a merge of John Coltrane's "Giant Steps" and the Miles Davis classic "Tune Up." Rivera naturally underpins the Latin feel of a starkly dramatic "Joggin'," while the bright big-band feel of "Frank's Tune" suggests the progressive bent of the Thad Jones-Mel Lewis Orchestra. Coleman's octet saves the best for last, as "Revival" is an epic modal anthem, with Moore's burnished trumpet up front working in counterpoint with the other horns over a dense, delicious, and dramatic baseline reverting to a tuneful repeat phrase over constantly changing dynamics and shifting rhythms. It's one for the ages. Special kudos goes to Mabern, the glue of the band from a supportive rhythmic and melodic standpoint, and again to Muhammad for his intelligent design in navigating rhythm in a manner far from stock, standard timekeeping. This is an important album in many ways, not only for the status of Cook and Coleman, but for the highly original classic music that clearly is identified with the '50s, brought into contemporary times, and everlasting.