Not released for the first time until 1974 but now available in expanded form as a CD, this set of duets by tenor saxophonist John Coltrane and drummer Rashied Ali are full of fire, emotion and constant abstract invention. The original four pieces ("Mars," "Venus," "Jupiter" and "Saturn") are joined by "Leo" and "Jupiter Variation." Coltrane alternates quiet moments with sections of great intensity, showing off his phenominal technique and ability to improvise without the need for chordal instruments. Rousing if somewhat inaccessible music. Scott Yanow
Tracklist :
1 Mars 10:41
Written-By – John Coltrane
2 Venus 8:17
Written-By – John Coltrane
3 Jupiter 5:21
Written-By – John Coltrane
4 Saturn 11:35
Written-By – John Coltrane
5 Jupiter (Variation) 6:45
Written-By – John Coltrane
6 Leo 11:04
Written-By – John Coltrane
Credits :
Drums – Rashied Ali
Producer – Alice Coltrane, Ed Michel
Recorded By – Rudy Van Gelder
Producer [Recording], Tenor Saxophone, Bells – John Coltrane
13.9.24
JOHN COLRANE — Interstellar Space (1967-1990) RM | Serie Impulse! CD Collection II | FLAC (tracks+.cue), lossless
17.7.24
THELONIOUS MONK SEPTET - Monk's Music (1957) Two Version (1986, RM | MONO | Riverside CD Masterpiece Series – 6) + (2011, RM | Serie Original Jazz Classics Remasters) FLAC (tracks+.cue), lossless
Monk's Music is often cited as one of the focal points of Thelonious
Monk's six-year affiliation (1955-1961) with the Riverside label.
Although the original disc clocked in at slightly over 30 minutes,
packed into that half hour are not only the introduction of a few of
Monk's signature compositions, but also some amazing interactions from
the assembled ensemble. Joining Thelonious Monk (piano) during these two
recording sessions are Ray Copeland (trumpet), Gigi Gryce (alto sax),
Coleman Hawkins (tenor sax), John Coltrane (tenor sax), Wilbur Ware
(bass), and Art Blakey (drums). The true meaning of the album's title
exists beyond just Thelonious, as the opening sacred prelude, "Abide
With Me," was written by William H. Monk. This brief piece features only
the horn quartet, foreshadowing their importance throughout the album.
The angular stride style featured during the chorus of "Well You
Needn't" is tackled with the same nimble authority as Monk's completely
unfettered solos. If his ability to swing and his utilization of atomic
clock accuracy have ever been questioned, the answer lies no further. So
utterly free and fantastic, certain passages command immediate review
to be fully comprehended. Hearing Coltrane and Hawkins together is
admittedly part of the charm in these sides. "Ruby, My Dear" is bathed
in the smoky essence of Hawkins' rich textures and Coltrane's playful
cat-and-mouse aggression. Blakey gently propels the rhythm, never
getting in the way and sporting a serene snare groove throughout. "Off
Minor" is largely led by Monk, with solos that follow into and out of
the memorable chorus that sparkles with the full involvement of the horn
and rhythm sections. The same is true for this definitive version of
"Epistrophy" -- perhaps the zenith collaborative effort between Coltrane
and Monk. AdAdditionally, Blakey is in top form, with a solo that borders on spastic precision. Lindsay Planer
Tracklist :
1 Abide with Me 0:55
Henry Francis Lyte / Thelonious Monk
2 Well, You Needn't 11:27
Thelonious Monk
3 Ruby, My Dear 5:28
Thelonious Monk
4 Off Minor (Take 5) 5:11
Thelonious Monk
5 Epistrophy 10:48
Kenny Clarke / Thelonious Monk
6 Crepuscule with Nellie (Take 6) 4:40
Thelonious Monk
– BONUS TRACK –
7 Off Minor (Take 4) 5:15
Thelonious Monk
8 Crepuscule with Nellie (Take 4 & 5) 4:44
Thelonious Monk
9 Blues For Tomorrow 13:33
Credits :
Trumpet – Ray Copeland
Alto Saxophone – Gigi Gryce
Bass – Wilbur Ware
Drums – Art Blakey
Piano – Thelonious Monk
Tenor Saxophone – Coleman Hawkins, John Coltrane
29.6.24
PAUL CHAMBERS SEXTET — Whims of Chambers (1956-2010) RM | SACD Hybrid | Serie The Blue Note Reissues | FLAC (tracks+.cue), lossless
Of the seven songs on this Blue Note date, four are more common than the other three because they contain solos by tenor saxophonist John Coltrane and have therefore been reissued more often. Actually there are quite a few solos in the all-star sextet (which includes the bassist-leader, Coltrane, trumpeter Donald Byrd, guitarist Kenny Burrell, pianist Horace Silver, and drummer Philly Joe Jones) and all of the players get their chances to shine on this fairly spontaneous hard bop set. Coltrane's two obscure compositions ("Nita" and "Just for the Love") are among the more memorable tunes and are worth reviving. "Tale of the Fingers" features the quintet without Coltrane, the rhythm section stretches out on "Whims of Chambers," and "Tale of the Fingers" is a showcase for Chambers' bowed bass. This is a fine effort and would be worth picking up by straight-ahead jazz fans even if John Coltrane had not participated. Scott Yanow
Tracklist :
1 Omicron 7:17
Written-By – Donald Byrd
2 Whims Of Chambers 4:05
Written-By – Paul Chambers
3 Nita 6:31
Written-By – John Coltrane
4 We Six 7:40
Written-By – Donald Byrd
5 Dear Ann 4:19
Written-By – Paul Chambers
6 Tale Of The Fingers 4:42
Written-By – Paul Chambers
7 Just For The Love 3:41
Written-By – John Coltrane
Credits :
Bass – Paul Chambers
Drums – "Philly" Joe Jones
Guitar – Kenny Burrell
Piano – Horace Silver
Recorded By – Rudy Van Gelder
Tenor Saxophone – John Coltrane
Trumpet – Donald Byrd
26.6.24
IDREES SULIEMAN | WEBSTER YOUNG | JOHN COLTRANE | BOBBY JASPAR — Interplay for 2 Trumpets And 2 Tenors (1957-1992) RM | FLAC (image + .cue), lossless
John Coltrane (tenor sax) resumed his association with the Prestige label on a late-March 1957 "all-star" session alongside Idrees Sulieman (trumpet), Webster Young (trumpet), Bobby Jaspar (tenor sax), Kenny Burrell (guitar), Paul Chambers (bass), Art Taylor (drums), and de facto arranger/songwriter Mal Waldron. This interesting blend of instrumentalists lives up to its potential as well as the equally intriguing Interplay for 2 Trumpets and 2 Tenors (1957). In fact, the appropriately named "Interplay" is up first with the melody extracting a feel that, while deeply entrenched in bop, has undeniable roots in Dixieland. Sulieman is exceptional with his melodic and thoughtful contributions, although it seems to be Coltrane who drives the theme the furthest. The tune's call-and-response structure doesn't fetter Coltrane as he pushes boundaries, pointing in the direction his music would continue to take. Kenny Burrell gets some space to stretch out on the understated and refined cool of "Anatomy." After the horns collectively establish the midtempo groove, listeners are treated to sublime solos via the stringed mastery of both the guitarist's fluid fret runs and Chambers' warm and playful bowed bass. Waldron picks back up for a few bars before handing things over to the brass. Note Sulieman's focus and strength as his flurry is a perfect springboard for Coltrane's criminally short interjections. Just like its name suggests, "Light Blue" presents the essence of the blues in a practically playful manner. After the short but sweet intro -- featuring some excellent comping by Burrell -- Waldron's presence evolves into weaving phrases clearly inspired by the guitarist. It is fascinating how Coltrane "gets up to speed," as if his portion is joined already in-progress and fully formed. The trumpets and tenor saxes collectively create a warm, intimate, and inviting harmonic embrace. Burrell is sublime, as are Waldon's accents to his detailed string work, while Young's muted sound conjures the cool and sweet of Miles Davis. Coltrane's confidence soars and his playing is unquestionably ahead of its time. Lindsay Planer
Tracklist :
1 Interplay 9:37
Mal Waldron
2 Anatomy 11:53
Mal Waldron
3 Light Blue 7:47
Thelonious Monk / Mal Waldron
4 Soul Eyes 17:29
Mal Waldron
5 C.T.A. 4:40
Piano – Red Garland
Written-By – Jimmy Heath
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Engineer [Recording] – Rudy Van Gelder
Guitar – Kenny Burrell
Piano, Written-By – Mal Waldron (tracks: 1 to 4)
Tenor Saxophone – Bobby Jaspar (tracks: 1 to 4), John Coltrane
Trumpet – Idrees Sulieman, Webster Young
13.12.23
THE RED GARLAND QUINTET WITH JOHN COLTRANE — Dig It! (1958-2009) RM | Serie RVG Remasters | FLAC (tracks+.cue), lossless
Taken
from "scraps" or "leftovers" of three different sessions, Dig It!
presents distinct sides of Red Garland's straight-ahead jazz persona
that manifests in trio, quartet, and quintet formats. One track was
issued as led by drummer Art Taylor (Taylor's Wailers), ostensibly John
Coltrane in Garland's quartet apart from their association with Miles
Davis, and two separate recordings have trumpeter Donald Byrd added to
comprise a five-piece combo. Memphis bassist George Joyner (aka Jamil
Nasser) is on three cuts, with Taylor present throughout. Though the
total time is shy of 34 minutes, this recording represents all of these
musicians in transition from their sideman associations to the
leadership roles they were in the process of wresting hold of. What have
always been Garland's strong suits -- high-class discourse and fleet
and fluid bebop -- are heartily dished out with no trace of arrogance.
On the swing-era standard "Crazy Rhythm," the Garland trio with bassist
Paul Chambers and Taylor plays a concise, hard-charging version with no
wasted motion and the two-fisted chord progressions of the pianist.
Coltrane's feature during Jimmy Heath's hard bop icon "C.T.A." is a bit
tentative, as he plays only eighth notes in a reserved fashion. But the
quintet take of "Billie's Bounce" has Trane rippin' it up in a fervor
that doubles the note volume, animated and fast, while also expressing a
soulful side. Byrd is fairly inconsequential, only soloing on this and
the 16-minute vintage blues "Lazy Mae." It's Garland who takes liberties
on this slow, languorous, sleepy-time jam, where he evokes the classic
sounds of Teddy Wilson, Earl "Fatha" Hines, and especially the elegant
Erroll Garner for a full eight minutes, also quoting the pop tune "Send
for Me" and the rambling staircase triplet midsection of "After Hours"
before Coltrane and Byrd settle into their own bluesy solos. Because of
the lack of extra material or alternate takes, one might buy this just
for the good music, but also the Rudy Van Gelder remastering factor that
allows you to hear these genius mmusicians cleaner and brighter. Michael G. Nastos
1 Billie's Bounce 9:24
Charlie Parker
2 Crazy Rhythm 3:26
Irving Caesar / Roger Wolfe Kahn / Joseph Meyer
3 C.T.A. 4:42
Jimmy Heath
4 Lazy Mae 16:06
Red Garland
Credits
Bass – George Joyner (tracks: 1, 4), Paul Chambers (tracks: 2, 3)
Drums – Arthur Taylor
Piano – Red Garland
Tenor Saxophone – John Coltrane (tracks: 1, 3, 4)
Trumpet – Donald Byrd (tracks: 1, 4)
THE RED GARLAND QUINTET — All Mornin' Long (1958-2001) RM | Serie Prestige 50th Anniversary Special Commemorative Edition | FLAC (tracks+.cue), lossless
6.12.23
THE RED GARLAND QUINTET ft. JOHN COLTRANE AND DONALD BYRD — Soul Junction (1960) Two Version (1986, RM | MONO | Prestige CD Masterpiece Series – 13) + (2007, RM | Serie RVG Remasters) FLAC (image+tracks+.cue), lossless
Pianist Red Garland's very relaxed, marathon blues solo on the 16-minute
"Soul Junction" is the most memorable aspect of this CD reissue. With
such soloists as tenor saxophonist John Coltrane and trumpeter Donald
Byrd, plus steady support provided by bassist George Joyner and drummer
Art Taylor, Garland gets to stretch out on the title cut and four jazz
originals, including "Birk's Works" and "Hallelujah." Coltrane is in
excellent form, playing several stunning sheets of sound solos. Scott Yanow
Tracklist :
1 Soul Junction 15:26
Written-By – Red Garland
2 Woody'N You 6:48
3 Birk's Works 7:32
Written-By – Dizzy Gillespie
4 I've Got It Bad 6:12
Written-By – Duke Ellington, Paul Webster
5 Hallelujah 6:30
Written-By – Vincent Youmans
Credits :
Bass – George Joyner
Drums – Arthur Taylor
Engineer – Rudy Van Gelder
Piano – Red Garland
Tenor Saxophone – John Coltrane
Trumpet – Donald Byrd
2.11.23
DIZZY GILLESPIE | MILT JACKSON | JOE CARROLL — School Days (1957-2000) RM | FLAC (tracks+.cue), lossless
An old recording from 1951, this album has been re-released on Columbia
from the old Savoy/Regent recordings. The blowing is insane in spots --
in "Pop's Confessin," Dizzy tries to hit the loudest, highest, longest
note possible (à la Roy Eldridge). Joe Carroll provides some humor in
his vocal work (often performing in duet with Dizzy). Milt Jackson
actually goes without his vibes here, singing and playing piano. A young
John Coltrane solos on “We Love to Boogie,” which was one of his first
appearances on record. According to the original liner notes, other
performers on the album are "probably" Bill Graham on baritone sax,
Wynton Kelly on piano, Percy Heath on bass, and Al Jones, Kansas Fields,
or Joe Hanes on drums. The interplay among trumpet, piano, and Joe
Carroll's vocals is some of the best you'll hear from this time period
(it gets even better in a couple years, but this is still outstanding).
"Lady Be Good" is a tour de force for Carroll, and "School Days" starts
to sound a lot like the blues-shouting R&B of the day. For any fan
of Dizzy, and the bop of the day, this is a worthwhile investment in
listening pleasure. The trumpet is good, the vocals are good, the humor
is good. You can barely miss with this one. Adam Greenberg
Tracklist :
1 Lady Be Good 2:39
Written-By – G&I. Gershwin
2 Pop's Confessin 3:31
Written-By – Neiburg, Daugherty, Reynolds
3 Nobody Knows The Trouble 2:36
Written-By – K. Clarke
4 Bopsie's Blues 2:33
Written-By – D. Gillespie
5 I Couldn't Beat The Rap 2:57
Written-By – D. Gillespie
6 School Days 3:07
Written-By – D. Gillespie
7 I'm In A Mess 2:10
Written-By – A. White, P. White
8 Umbrella Man 2:23
Written-By – Cavanaugh, Rose, Stock
9 Love Me, Pretty Baby 3:00
Written-By – K. Clarke
10 We Love To Boogie 2:50
Written-By – D. Gillespie
Credits
Alto Saxophone, Baritone Saxophone – Bill Graham (tracks: 2 to 8)
Alto Saxophone, Tenor Saxophone – John Coltrane (tracks: 10)
Bass – Bernie Griggs (tracks: 2, 8), Percy Heath (tracks: 1, 3 to 7, 9,10)
Drums – Al Jones (tracks: 2 to 8), Art Blakey (tracks: 1, 9), Kansas Fields (tracks: 10)
Guitar – Kenny Burrell (tracks: 10)
Organ, Vocals – Milt Jackson (tracks: 3)
Piano – Milt Jackson (tracks: 1,3 to 7, 9, 10), Wynton Kelly (tracks: 2, 8)
Tenor Saxophone – Budd Johnson (tracks: 1, 9)
Trombone – Jay Jay Johnson (tracks: 1, 9)
Trumpet – Dizzy Gillespie (tracks: 1 to 10)
Vibraphone – Milt Jackson (tracks: 1, 3 to 7, 9)
Violin – Stuff Smith (tracks: 3)
Vocals – Dizzy Gillespie (tracks: 2, 4, 7, 8), Freddy Strong (tracks: 10),
Joe Carroll (tracks: 1 to 9), Melvin Moore (tracks: 1, 4 to 8, 9)
DIZZY GILLESPIE – The Champ (1956-2003) RM | Savoy Jazz Classic Masters | FLAC (tracks+.cue), lossless
An early LP on Savoy that gathers Dizzy Gillespie's small-group
recordings from 1951-52, The Champ has a lot to recommend it -- songs,
sidemen, and performances. With just one exception, each of the
selections are drawn from quintet or sextet dates, boasting work by Art
Blakey, Milt Jackson, J.J. Johnson, Percy Heath, and Stuff Smith in
addition to an early appearance from John Coltrane (he made his debut
with Diz, though not here). On the title track, a six-minute jam
released as a two-part single, Gillespie plays furiously and tenor Budd
Johnson contributes a great squawking solo. "Birk's Works," one of
Dizzy's finest compositions, gets its first commercial recording, while
Stuff Smith's violin solo gives "Caravan" exactly the exotic touch it
needs to lift it above competing versions. Diz and Joe Carroll trade
vocals on "On the Sunny Side of the Street," and bop culture meets
gospel for "Swing Low, Sweet Cadillac." John Bush
Tracklist :
1 The Champ 05:43
Dizzy Gillespie
2 Birk's Works 03:09
Dizzy Gillespie
3 Caravan 02:56
Duke Ellington / Irving Mills / Juan Tizol
4 Time On My Hands 02:26
Harold Adamson / Mack Gordon / Vincent Youmans
5 On the Sunny Side of the Street 03:09
Dorothy Fields / Jimmy McHugh
6 Tin Tin Deo 02:43
Gil Fuller / Dizzy Gillespie / Chano Pozo
7 Stardust 03:07
Hoagy Carmichael / Mitchell Parish
8 They Can't Take That Away from Me 03:46
George Gershwin / Ira Gershwin
9 The Bluest Blues 02:57
Dizzy Gillespie / Gary McFarland / Sir Charles Thompson
10 Swing Low, Sweet Cadillac 03:10
Dizzy Gillespie
11 Ooh-Shoo-Be-Doo-Bee 03:21
Joe Carroll / Dizzy Gillespie / Bill Graham
Credits :
Alto Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11), John Coltrane (tracks: 2, 6)
Baritone Saxophone – Bill Graham (tracks: 3 to 5, 7 to 11)
Bass – Bernie Griggs (tracks: 8, 11), Percy Heath (tracks: 1 to 7, 9, 10)
Drums – Al Jones (tracks: 3 to 5, 7 to 11), Art Blakey (tracks: 1), Kansas Fields (tracks: 2 to 6)
Guitar – Kenny Burrell (tracks: 2, 6)
Organ – Milt Jackson (tracks: 3 to 5, 7 to 9)
Piano – Milt Jackson (tracks: 2, 6, 10), Wynton Kelly (tracks: 8, 11)
Tenor Saxophone – Budd Johnson (tracks: 1), John Coltrane (tracks: 2, 6)
Trombone – J.J. Johnson
Trumpet – Dizzy Gillespie
Vibraphone – Milt Jackson (tracks: 2, 6, 10)
Violin – Stuff Smith (tracks: 3 to 5, 7, 9)
Vocals – Dizzy Gillespie (tracks: 10), Joe Carroll (tracks: 1, 3 to 5, 7 to 11), Melvin Moore (tracks: 1, 10), Milt Jackson (tracks: 3 to 5, 7 to 9)
1.10.23
DIZZY GILLESPIE AND HIS ORCHESTRA – 1949-1950 | The Classics Chronological Series – 1168 (2003) FLAC (tracks+.cue), lossless
This entry in the Classics label Chronological series features the final recordings by Dizzy Gillespie's 1940s big band, a few jump jazz titles geared toward the R&B market, and a session in which Dizzy's trumpet is backed by a string section arranged by Johnny Richards. It is definitely a mixed bag. The big band titles are generally weak ("You Stole My Wife, You Horsethief" would never be considered a classic), as Gillespie tried hard to come up with a hit to save his orchestra. The jump titles are more fun, with "She's Gone Again" being particularly catchy. Richards' string arrangements are not very creative, although Gillespie plays well throughout. This set is not without interest overall, but is mostly for Dizzy completists and is far from essential. Scott Yanow Tracklist :
DIZZY GILLESPIE AND HIS ORCHESTRA – 1951-1952 | The Classics Chronological Series – 1286 (2003) FLAC (tracks+.cue), lossless
This intriguing CD features trumpeter Dizzy Gillespie during a transitional period, more than a year after his 1940s bebop orchestra broke up. "We Love to Boogie" has the first commercially recorded solo of tenor saxophonist John Coltrane, four years before he joined Miles Davis. Gillespie is heard with five different small groups playing music that is both boppish and a little R&B-influenced. Three of the combos match him with baritonist Bill Graham, with Milt Jackson playing as much piano as vibes and violinist Stuff Smith guesting on one session. Highlights include "Birk's Works," Joe Carroll's vocal on "Oh, Lady Be Good," the heated two-part "The Champ," "The Bluest Blues," and Carroll and Gillespie's singing on "On the Sunny Side of the Street." The final four numbers, taken from singles cut for the Atlantic label, are particularly rare. Scott Yanow Tracklist :
25.10.22
JOHNNY HODGES AN HIS ORCHESTRA – 1952-1954 | The Classics Chronological Series – 1421 (2006) FLAC (tracks), lossless
After spending 22 years as Duke Ellington's star alto saxophonist, Johnny Hodges took a break from the Duke and led his own bands from 1951 to 1955, spending much of that time making excellent records for producer Norman Granz. This creative hiatus has been well-documented, most exhaustively by the Mosaic label's Complete Johnny Hodges Sessions 1951-1955. For those who didn't have a chance to flag down that particular anthology, volume four in the Classics Johnny Hodges chronology presents a potent portion of this fascinating chapter in musical history. These recordings were made immediately after the departure of tenor saxophonist Al Sears, who was headed for membership in BMI and a career in the music publishing business following the success of his R&B-infused opus Castle Rock. Like Sears, many of the players in Hodges' various ensembles were members or ex-members of the Ellington Orchestra. The most notable exceptions heard here are master percussionist J.C. Heard and trumpeter Emmett Berry, whose warm personality integrates well with the Ellingtonians, especially trombonist Lawrence Brown and tenor saxophonist Ben Webster. On the final three tracks, recorded July 2, 1954, Berry is replaced by powerfully expressive Ellington trumpeter Harold "Shorty" Baker. This session should be treasured for the presence of pianist Call Cobbs, who was destined to make remarkably inspired music with Albert Ayler during the late '60s. A 27-year-old John Coltrane is at least technically present on a gutsy, growling, laid-back blues entitled "Sweet as Bear Meat." Trane's participation, however, is only barely perceptible, as he is allotted no solo space whatsoever, and plays a faintly supportive reed section role similar to that of Floyd "Horsecollar" Williams in the Hot Lips Page band of 1944. Given the nature of this tune, it's a pity that Trane wasn't invited to mingle his tone with the visceral currents of Hodges and Baker. One thing's for sure -- he was listening carefully! Subsequent developments prove that Trane was a devout listener. Take time to reflect upon the fact that this compilation closes with a recording of John Coltrane listening to Johnny Hodges while hardly making any sounds of his own. arwulf arwulf
Tracklist :
1 I Got It Bad And That Ain't Good 3:29
Ellington / Webster
2 Nothin' Yet 2:40
Berry
3 Rosanne 3:08
Manning / Osser
4 This Love Of Mine 3:06
Sinatra
5 Hodge Podge 3:36
Hodges / Ellington
6 Jappa 3:53
Hodges
7 Through For The Night 3:17
Young
8 Come Sunday 2:32
Ellington
9 The Sheik Of Araby 3:13
Smith / Weiller / Snyder
10 Latino 2:54
Hodges
11 Easy Going Bounce 3:32
Hodges
12 Indiana 3:51
Hodges
13 Johnny's Blues - Part 1 3:36
Hodges
14 Johnny's Blues - Part 2 3:39
Hodges
15 In A Mellow Tone 6:17
Ellington
16 I Let A Song Go Out Of My Heart 3:08
Ellington / Nemo / Mills
17 Don't Get Around Much Anymore 3:46
Ellington / Russell
18 Burgundpy Walk 7:07
Hodges
19 On The Sunny Side Of The Street 2:58
Fields / McHugh
20 Sweet As Bear Meat 3:20
Hodges
27.9.22
HANK MOBLEY | AL COHN | JOHN COLTRANE | ZOOT SIMS - Tenor Conclave (1957-2014) RM | MONO | SACD, Hybrid | FLAC (tracks+.cue), lossless
These four sides should not be hard to locate, as the primary participants in this November 30, 1956, session have all issued them within their individual catalogs. However Tenor Conclave was first released as credited to the "leaderless" Prestige All-Stars -- consisting of tenor saxophonists John Coltrane, Hank Mobley, Al Cohn, and Zoot Sims. Providing support are pianist Red Garland, bassist Paul Chambers, and drummer Art Taylor. The Mobley-penned title track commences the effort with the quartet of tenors showing off their stuff in high-flying style. It takes a couple of passes and somewhat of a trained ear to be able to link the players with their contributions, but as is often the case, the whole tends to be greater than the sum of the parts. After a brief introduction with all four rapidly reeling off short riffs, Mobley charges ahead into truly inspired territory. The midtempo take of "Just You, Just Me" keeps things lively with a light swinging pace that is custom-made for bringing the combo's jocular side to the surface, particularly toward the end as they "trade fours," with each tenor blowing four bars before passing the melody on. The other Mobley composition is "Bob's Boys," and by all accounts it is the most compelling piece on the outing. The blues-based tune rollicks as Coltrane, Mobley, Cohn, and Sims find themselves configured in a seeming myriad of sonic face-offs. Wrapping up Tenor Conclave is an ultra-cool and sophisticated "How Deep Is the Ocean?" Cohn commences the long and luscious reading with a subtle strength, suggesting the powerful undercurrent flowing throughout the number. Also, listeners are treated to what is possibly Garland's finest interaction, leading right into Sims, Chambers, and finally a sublime Coltrane caboose. Lindsay Planer
Tracklist :
1 Tenor Conclave 11:05
Hank Mobley
2 Just You, Just Me 9:29
Jesse Greer / Raymond Klages
3 Bob's Boys 8:21
Hank Mobley
4 How Deep Is the Ocean? 15:04
Irving Berlin
Credits :
Bass – Paul Chambers
Drums – Art Taylor
Engineer [Recording Engineer] – Rudy Van Gelder
Piano – Red Garland
Tenor Saxophone – Al Cohn, Hank Mobley, John Coltrane, Zoot Sims
19.8.22
JOHNNY GRIFFIN - A Blowin' Session (1957-1999) RM | RVG Edition | FLAC (tracks+.cue), lossless
A Blowin' Session is one of the greatest hard bop jam sessions ever recorded; it is filled with infectious passion and camaraderie. It's also the only time tenor saxophonists Johnny Griffin and John Coltrane would play together on record. Initially Coltrane wasn't scheduled to be on this date, but Griffin saw him on his way to Rudy Van Gelder's studio and asked him to join the remaining musicians, third tenor Hank Mobley, trumpeter Lee Morgan, pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey. These musicians were all associates within the same East Coast hard bop scene of the time; they came from the Jazz Messengers and Miles Davis' quintet, and many had played with Dizzy Gillespie's big band. Showcased on this April 8, 1957, session are two standards, "The Way You Look Tonight" and "All the Things You Are," along with two original Griffin compositions, "Ball Bearing" and "Smoke Stack." (An added bonus on the 1999 Rudy Van Gelder remastered edition is an alternate take of "Smoke Stack.") Of special note is "The Way You Look Tonight," featuring the three tenors trading off with complexity and speed that is still astonishing, especially in the case of Griffin (dubbed the world's fastest saxophonist) and Coltrane's ability to navigate complex chord changes over a fast tempo. Al Campbell
Tracklist :
1 The Way You Look Tonight 9'40
Dorothy Fields / Jerome Kern
2 Ball Bearings 8'10
Johnny Griffin
3 All the Things You Are 10'14
Oscar Hammerstein II / Jerome Kern
4 Smoke Stack 10'13
Johnny Griffin
5 Smoke Stack 11'00
Johnny Griffin
Credits :
Bass – Paul Chambers
Drums – Art Blakey
Piano – Wynton Kelly
Recorded By, Remastered By – Rudy Van Gelder
Reissue Producer – Michael Cuscuna
Tenor Saxophone – Hank Mobley, John Coltrane, Johnny Griffin
Trumpet – Lee Morgan
4.9.21
PAUL CHAMBERS - Whims of Chambers (1956-2010) RM / SACD / FLAC (tracks+.cue), lossless
Of the seven songs on this Blue Note date, four are more common than the other three because they contain solos by tenor saxophonist John Coltrane and have therefore been reissued more often. Actually there are quite a few solos in the all-star sextet (which includes the bassist-leader, Coltrane, trumpeter Donald Byrd, guitarist Kenny Burrell, pianist Horace Silver, and drummer Philly Joe Jones) and all of the players get their chances to shine on this fairly spontaneous hard bop set. Coltrane's two obscure compositions ("Nita" and "Just for the Love") are among the more memorable tunes and are worth reviving. "Tale of the Fingers" features the quintet without Coltrane, the rhythm section stretches out on "Whims of Chambers," and "Tale of the Fingers" is a showcase for Chambers' bowed bass. This is a fine effort and would be worth picking up by straight-ahead jazz fans even if John Coltrane had not participated. by Scott Yanow
Tracklist :
1 Omicron 7:15
Donald Byrd
2 Whims of Chambers 4:03
Paul Chambers
3 Nita 6:03
John Coltrane
4 We Six 7:29
Donald Byrd
5 Dear Ann 4:18
Paul Chambers
6 Tale of the Fingers 4:41
Paul Chambers
7 Just for the Love 3:41
John Coltrane
Credits :
Bass – Paul Chambers
Drums – "Philly" Joe Jones
Guitar – Kenny Burrell
Piano – Horace Silver
Tenor Saxophone – John Coltrane
Trumpet – Donald Byrd
19.7.20
JOHN COLTRANE - Complete Recordings With Dizzy Gillespie (2001) FLAC (tracks+.cue), lossless
Tracklist:
1 Say When 3:13
Tadd Dameron / Dizzy Gillespie / James Moody
2 Tally-Ho 3:14
Dizzy Gillespie
3 You Stole My Wife, You Horsethief 3:10
Harry (Simovitz) Sims
4 I Can't Remember 2:55
Billy Reid / Harry (Simovitz) Sims
5 Coast to Coast 3:19
Dizzy Gillespie / Buster Harding
6 Carambola 2:56
Heitor Villa-Lobos
7 Oo-La-La 2:52
John "Johnny" Adriano Acea / Dizzy Gillespie / Rudy Williams
8 Honeysuckle Rose 3:07
Andy Razaf / Fats Waller
9 Birk's Works 2:54
Dizzy Gillespie
10 Tin Tin Deo 2:42
Gil Fuller / Chano Pozo
11 We Love to Boogie 3:10
Dizzy Gillespie
12 Fast Movin' Mama 2:16
Gerry Gladstone / Ned Washington
John Coltrane feat: Dinah Washington
13 Juice Head Man of Mine 2:45
Tab Smith / Jesse Stone / Dinah Washington
John Coltrane feat: Dinah Washington
14 Shuckin' and Jivin' 2:23
Gerry Gladstone / Ned Washington
John Coltrane feat: Dinah Washington
15 Richest Guy in the Graveyard 2:55
Leonard Feather
John Coltrane feat: Dinah Washington
16 Richest Guy in the Graveyard 2:52
Leonard Feather
John Coltrane feat: Dinah Washington
Credits:
Alto Saxophone – Jimmy Heath
Alto Saxophone, Tenor Saxophone – John Coltrane
Baritone Saxophone – Al Gibson, Cecil Payne
Bass – Al McKibbon, Percy Heath, Ray Brown
Congas, Claves, Maracas – Calypso Boys
Drums – Charles "Specs" Wright, Teddy Stewart
Guitar – Floyd Smith, Freddie Green, John Collins, Kenny Burrell
Piano – John "Johnny" Adriano
Piano, Vibraphone – Milt Jackson
Tenor Saxophone – Paul Gonsalves
Trombone – Charles "Majeed" Greenlee, Matthew Gee, Sam Hurt
Trumpet – Don Slaughter, Elmon Wright, Willie Cook
Trumpet, Vocals – Dizzy Gillespie
Vocals – Dinah Washington, Freddy Strong, Joe Carroll
Note:
1 to 4: 1949-11-21, Unknown Studio, New York City, New York; Dizzy Gillespie & His Orchestra
5 to 8: 1950-01-09, Unknown Studio, New York City, New York; Dizzy Gillespie & His Orchestra
9 to 11: 1951-02-24, United Sound Systems, Detroit, Míchigan; The Dizzy Gillespie Septet
12 to 16 (Bonus Tracks): 1949-09-27; Dina Washington Accompanied By Teddy Stewart's Orchestra. John Coltrane was not present at this recording session.
WILBUR HARDEN / JOHN COLTRANE - Jazz Way Out (1958-1991) RM / APE (image+.cue), lossless
The presence of John Coltrane on this 1958 Savoy release is its obvious drawing card, but in fact there are impressive contributions from all hands. Leader Wilbur Harden left the jazz scene by the early '60s, which is a pity. He was a player with fresh ideas and an engaging command of his trumpet's and flügelhorn's middle register. The sextet heard on this date performs two Harden compositions and one by the group's trombonist, Curtis Fuller, for a skimpy total running time of 29 minutes. The "way out" reference in the title is misleading. There are traces of exotic Asian and African influences, but they never overpower what is essentially an intelligent, straight-ahead, hard bop date. At the time of this release, Coltrane had been recording as a leader and sideman for Prestige and was on his second tour of duty with Miles Davis, whose group was on the verge of recording Kind of Blue. (Coltrane was also about to begin recording for Atlantic.) With Harden's group, Coltrane, as he did with Davis and on his own Atlantic recordings, systematically (and with sublime composure) turns the chord changes inside out, upside down, and sideways, creating a new vocabulary, syntax, and structure for jazz. Coltrane completists will definitely want these tracks in their collections, but the less fanatical listener will also have no difficulty in appreciating the collective performances of the entire sextet. by Jim Todd
Tracklist:
1 Dial Africa 8:38
Written-By – W. Harden
2 Oomba 5:27
Written-By – W. Harden
3 Gold Coast 14:41
Written-By – C. Fuller
Credits:
Bass – Al Jackson
Drums – Art Taylor
Piano – Tommy Flanagan
Recorded By – Rudy Van Gelder
Tenor Saxophone – John Coltrane
Trombone – Curtis Fuller
Trumpet, Flugelhorn – Wilbur Harden
WILBUR HARDEN / JOHN COLTRANE - Tanganyika Strut (1958-1991) RM / FLAC (tracks+.cue), lossless
1 Tanganyika Strut 10:00
Written-By – C. Fuller
2 B.J. 4:30
Written-By – W. Harden
3 Anedac 5:15
Written-By – W. Harden
4 Once In A While 9:30
Written-By – Green, Edwards
Credits:
Bass – Ali Jackson
Drums – Art Taylor
Piano – Howard Williams (tracks: 2 to 4), Tommy Flanagan (tracks: 1)
Recorded By – Rudy Van Gelder
Tenor Saxophone – John Coltrane
Trombone – Curtis Fuller
Trumpet, Flugelhorn – Wilbur Harden
Note:
Recordings 1: June 24, 1958, 2 to 4: May 13, 1958
WILBUR HARDEN / JOHN COLTRANE - Mainstream 1958 (1958-1992) RM / MONO / FLAC (image+.cue), lossless
Tracklist:
1 Wells Fargo 7:19
Wilbur Harden
2 West 42nd Street 7:49
Wilbur Harden
Drums – Louis Hayes
Flugelhorn – Wilbur Harden
Piano – Tommy Flanagan
Tenor Saxophone – John Coltrane
Written-By – Harden
JOHN COLTRANE / FRANK WESS - Wheelin' & Dealin' (1957-1991) RM / FLAC (image+.cue), lossless
This two-fer from the excellent Prestige series of two-LP sets features Coltrane at a pair of jam-session-type settings in 1957. He is heard along with fellow tenor Paul Quinichette and Frank Wess on flute and tenor on two long versions apiece of "Wheelin'" and "Dealin" in addition to a fine rendition of "Things Ain't What They Used to Be" and a 15-minute version of "Robbins' Nest." In addition, there are two numbers from a sextet session with trumpeter Bill Hardman and altoist Jackie McLean. Overall the music is not all that essential (since there are so many other Coltrane recordings available) but is quite enjoyable on its own terms and worth picking up. by Scott Yanow
Tracklist:
1 Things Ain't What They Used to Be 8:25
Mercer Ellington / Ted Persons
2 Wheelin' (Take 2) 11:22
Mal Waldron
3 Wheelin' (Take 1) 10:25
Mal Waldron
4 Robbin's Nest 15:32
Illinois Jacquet / Bob Russell / Sir Charles Thompson
5 Dealin' (Take 2) 10:15
Mal Waldron
6 Dealin' (Take 1) 10:00
Mal Waldron
Credits:
Bass – Doug Watkins
Drums – Art Taylor
Engineer – Rudy Van Gelder
Flute – Frank Wess
Piano – Mal Waldron
Tenor Saxophone – Frank Wess, John Coltrane, Paul Quinichette
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e.s.t. — Retrospective 'The Very Best Of e.s.t. (2009) FLAC (tracks+.cue), lossless
"Retrospective - The Very Best Of e.s.t." is a retrospective of the unique work of e.s.t. and a tribute to the late mastermind Esb...