Never heard this 1958 album before for some damn reason. It is excellent, despite some rather muffled sound even by Riverside standards (engineer was Aaron Nathanson [who he?] at Metropolitan Sound [where dat?] -- a treble boost probably would help. Four tracks with Kelly, Kenny Burrell, Paul Chambers, and Philly Joe. four tracks minus Philly Joe. Some very serious playing here by all hands, maybe the most intense focused Burrell I've ever heard, clearly stimulated by a pianist who was born to accompany him.
I enjoy and agree with many of the names already mentioned so I won't rehash them. One name I didn't see mentioned was Art Pepper. I think he may be one of the greatest, under-appreciated alto sax players of all time. He had his own sound and he grew and evolved over the course of his career and was consistently excellent throughout. After an extended jail term, having been off the jazz scene for a while, he saw some of the new directions jazz was moving and took a chance by adding avant-garde elements to his playing which was a departure from what he had been playing before. In a way, he reinvented himself and still excelled.
Genius can be a slippery term too. For example, I don't think that Vince Guaraldi is a genius but I do think that the music he made for A Boy Named Charlie Brown and A Charlie Brown Christmas was genius. I can't think of another example where the music is so married to the heart and soul of a piece of work. That music is so defining that it is probably one of the primary reasons those particular cartoons were so successful. That music was a breath of life and elevated that which it was supporting. It added a gravity and importance which very well could have been absent had it been different music or the type of music one would typically see accompanying a cartoon.