Blues in Trinity

Unusually for Blue Note releases of this time, Blues in Trinity was recorded in north London rather than Rudy Van Gelder's Hackensack Studio, at which the label recorded exclusively from 1953 onwards.{{cite news |last1=Waring |first1=Charles |title=Van Gelder Studio And The Blue Note Sound |url=https://www.udiscovermusic.com/stories/blue-note-sound-rudy-van-gelder/ |access-date=4 January 2024 |work=uDiscoverMusic |issue=November 2 |publisher=uDiscoverMusic |date=2023}}

{{Album ratings

| rev1 = AllMusic

| rev1Score = {{rating|4.5|5}}

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The AllMusic review by Stephen Thomas Erlewine states, "Although the band was thrown together, there's a definite spark to this combo, which interacts as if it had been playing together for a long time. Throughout it all, Reece steals the show with his robust playing, and that's why Blues in Trinity rises above the level of standard-issue hard bop and becomes something special."{{cite web |last1=Erlewine |first1=Stephen Thomas |title=Blues in Trinity Review |url=https://www.allmusic.com/album/blues-in-trinity-mw0000710553 |website=AllMusic |publisher=AllMusic, Netaktion LLC |access-date=5 January 2024}}

Richard Cook described the session as a fine Anglo-American collaboration, with Reece demonstrating 'outstanding' qualities as a soloist and 'overshadowing' Donald Byrd.{{cite book |last1=Cook |first1=Richard |title=Blue Note Records: The Biography |date=2004 |publisher=Justin, Charles & Company |location=[Boston, MA] |isbn=9781932112276 |page=131 |url=https://books.google.com/books?id=DWowaH3y3lgC |access-date=4 January 2024}} Cook also highlights Tubby Hayes as overshadowing Byrd with his 'quick and hearty' performance, a sentiment supported by Hayes's biographer, Simon Spillett, who describes Hayes "as technically dazzling as Johnny Griffin and as full of heavyweight clout as [...] Sonny Rollins".{{cite news |last1=Spillett |first1=Simon |title=Tubby Hayes: How The Little Giant Conquered The Big Apple |url=https://www.jazzwise.com/features/article/tubby-hayes-how-the-little-giant-conquered-the-big-apple |access-date=4 January 2024 |work=JazzWise |issue=October 18 |publisher=MA Music, Leisure & Travel Ltd |date=2021}}

Blues in Trinity is considered by some{{cite news |last1=Waring |first1=Charles |date=2019 |title=Under the radar |url=https://recordcollectormag.com/articles/radar-4 |access-date=5 January 2024 |work=Record Collector |publisher=Diamond Publishing |issue=498 - 30 September}} to be a "bop classic" and among Reece's best work.{{cite news |last1=Carr |first1=Roy |date=2013 |title=Dizzy Reece: The Complete Recordings 1954-62 |url=https://www.jazzwise.com/review/dizzy-reece-the-complete-recordings-1954-62 |access-date=5 January 2024 |work=Jazzwise |publisher=MA Music, Leisure & Travel Ltd |issue=October}}{{cite book |last1=Morton |first1=Brian |url=https://books.google.com/books?id=K7svgLNMxjgC |title=The Penguin Jazz Guide: The History of the Music in the 1000 Best Albums |last2=Cook |first2=Richard |date=2010 |publisher=Penguin |isbn=9780141048314 |location=London}}

:All compositions by Dizzy Reece except as indicated

1. "Blues in Trinity" – 6:45
2. "I Had the Craziest Dream" (Gordon, Warren) – 3:04
3. "Close-Up" – 10:38

1. "Shepherd's Serenade" – 6:36
2. "Color Blind" – 6:02
3. "'Round About Midnight" (Monk) – 4:46

7. "Eboo" – 4:02
8. "Just a Penny" – 5:28

• Dizzy Reece (except "'Round About Midnight"{{cite web |title=Dizzy Reece discography... |url=http://henrybebop.co.uk/reece.htm |website=British modern jazz - from the 1940s onwards... |access-date=5 March 2024}})
• Donald Byrd ("Close-Up", "Color Blind", "Eboo", "Just a Penny") – trumpet
• Tubby Hayes – tenor saxophone (except "I Had the Craziest Dream")
• Terry Shannon – piano
• Lloyd Thompson – bass
• Art Taylor – drums

• Tony Hall – producer, liner notes
• Rudy Van Gelder – recording engineer
• Reid Miles – design
• Bill Penny – photography

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{{Dizzy Reece}}{{Donald Byrd}}

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Category:Blue Note Records albums

Category:Dizzy Reece albums

Category:1959 albums