Showing posts with label John Coltrane. Show all posts
Showing posts with label John Coltrane. Show all posts

Thursday, November 28, 2024

Cannonball Adderley - Quintet In Chicago

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 34:03
Size: 78,2 MB
Art: Front

(4:40)  1. Limehouse Blues
(6:14)  2. Stars Fell on Alabama
(5:46)  3. Wabash
(4:33)  4. Grand  Central
(5:34)  5. You' re A Weaver Of Dreams
(7:13)  6. The Sleeper

This exciting session consists of the 1959 edition of The Miles Davis Sextet minus its leader, though it was later reissued as Cannonball & Coltrane, as there was evidence that both men had considerable input into the date. A brisk "Limehouse Blues" features great exchanges between the saxophonists, while Adderley's soulful "Wabash" is more easygoing. This newly remastered CD is a distinct improvement over the earlier retitled reissue. ~ Ken Dryden  http://www.allmusic.com/album/cannonball-adderley-quintet-in-chicago-mw0000088595

Cannonball Adderley Quintet: Cannonball Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly (piano); Paul Chambers (bass); Jimmy Cobb (drums).

Quintet In Chicago
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Saturday, July 13, 2024

John Coltrane - The Atlantic Years-In Mono (Disc 1), (Disc 2), (Disc 3)

Album: The Atlantic Years-In Mono (Disc 1)

Size: 85,9 MB
Time: 37:32
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Giant Steps (4:47)
2. Cousin Mary (5:50)
3. Countdown (2:25)
4. Spiral (5:59)
5. Syeeda's Song Flute (7:06)
6. Naima (4:25)
7. Mr. P.C. (6:58)
Album: The Atlantic Years-In Mono (Disc 2)

Size: 84,7 MB
Time: 36:59
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Bugs & Trane (7:28)
2. Three Little Words (7:31)
3. The Night We Called It Day (4:22)
4. Be-Bop (8:01)
5. The Late Late Blues (9:35)
Album: The Atlantic Years-In Mono (Disc 3)

Size: 84,1 MB
Time: 36:45
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Ole (18:16)
2. Dahomey Dance (10:51)
3. Aisha ( 7:37)

Includes mono versions of the following albums:- Giant Steps- Bags & Trane (with Milt Jackson)- Ole Coltrane- Coltrane Plays The Blues- The Avant Garde (with Don Cherry)While John Coltrane first gained attention for his revolutionary "sheets of sound" technique, it was the deep spirituality of his music that really made his recordings as a bandleader such classics. The albums he recorded for Atlantic in 1959 and 1960 represent the heart of his legacy.

This box set gathers Coltrane's mono recordings from the Atlantic vaults to be released as a 6CD box set:- Packaged in an elegant hard-bound box.- Fully remastered in glorious mono.- Original studio albums replicating the original artwork and labels. Giant Steps (1960), Bags & Trane (1961) with Milt Jackson, Ole Coltrane (1962), Coltrane Plays The Blues (1962), The Avant Garde (1966) with Don Cherry.- One album of outtakes.- A 32-page perfect-bound booklet, with period photos by Lee Friedlander and liner notes by Grammy-winning jazz writer Ashley Kahn.By Editorial Reviews https://www.amazon.com/Atlantic-Years-Mono-6CD-Boxset/dp/B01C7W7KWY

The Atlantic Years-In Mono (Disc 1),(Disc 2), (Disc 3)
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John Coltrane - The Atlantic Years-In Mono (Disc 4), (Disc 5), (Disc 6)

Album: The Atlantic Years-In Mono (Disc 4)

Size: 93,7 MB
Time: 40:56
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Blues to Elvin (7:52)
2. Blues to Bechet (5:44)
3. Blues to You (6:28)
4. Mr. Day (7:56)
5. Mr. Sims (5:22)
6. Mr. Knight (7:32)
John Coltrane & Don Cherry - The Atlantic Years-In Mono (Disc 5) Album: The Atlantic Years-In Mono (Disc 5)

Size: 82,8 MB
Time: 36:10
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. Cherryco ( 6:49)
2. Focus on Sanity (12:10)
3. The Blessing ( 7:54)
4. The Invisible ( 4:10)
5. Bemsha Swing ( 5:05)
John Coltrane - The Atlantic Years-In Mono (Disc 6) Album: The Atlantic Years-In Mono (Disc 6)

Size: 92,3 MB
Time: 40:20
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

1. 26-2 (6:13)
2. Original Untitled Ballad (9:00)
3. Untitled Original (5:22)
4. Centerpiece (7:08)
5. Stairway to the Stars (3:32)
6. Blues Legacy (9:02)

Includes mono versions of the following albums:- Giant Steps- Bags & Trane (with Milt Jackson)- Ole Coltrane- Coltrane Plays The Blues- The Avant Garde (with Don Cherry)While John Coltrane first gained attention for his revolutionary "sheets of sound" technique, it was the deep spirituality of his music that really made his recordings as a bandleader such classics. The albums he recorded for Atlantic in 1959 and 1960 represent the heart of his legacy.

This box set gathers Coltrane's mono recordings from the Atlantic vaults to be released as a 6CD box set:- Packaged in an elegant hard-bound box.- Fully remastered in glorious mono.- Original studio albums replicating the original artwork and labels. Giant Steps (1960), Bags & Trane (1961) with Milt Jackson, Ole Coltrane (1962), Coltrane Plays The Blues (1962), The Avant Garde (1966) with Don Cherry.- One album of outtakes.- A 32-page perfect-bound booklet, with period photos by Lee Friedlander and liner notes by Grammy-winning jazz writer Ashley Kahn.By Editorial Reviews https://www.amazon.com/Atlantic-Years-Mono-6CD-Boxset/dp/B01C7W7KWY

The Atlantic Years-In Mono(Disc 4),(Disc 5), (Disc 6)
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Friday, March 8, 2024

Miles Davis - Blue in Green

Styles: Trumpet Jazz
Year: 2023
Time: 62:14
File: MP3 @ 320K/s
Size: 143,0 MB
Art: Front

( 5:37) 1. Blue In Green
( 9:25) 2. So What
( 9:49) 3. Freddie Freeloader
( 2:49) 4. Générique
( 5:44) 5. Milestones
( 4:43) 6. Stella By Light
( 3:01) 7. 'Round Midnight
(11:35) 8. All Blues
( 9:26) 9. Flamenco Sketches

“Blue in Green” is arguably the most beautiful piece of music on Kind of Blue. The ensemble playing reaches new levels of subtlety and transcendence, and the work benefits greatly from the introduction of pianist Bill Evans, one of Miles Davis’ greatest collaborators. Indeed, his piano part is magnificent, and his solo is a masterpiece of his unrivalled lyricism.

The tempo of the tune is audaciously slow, and it’s easy for the listener to think that it will fall apart at any moment. It doesn’t, however, due to the genius of the ensemble. “Blue in Green” is also a greatly important piece; it shows that the values of “cool jazz” can have huge artistic value it’s not just laid-back music for the sake of it, it’s music of extraordinary depth of feeling. By Thomas Ward Miles Blue in Green by Miles Davis - Track Info | AllMusic

Personnel: Miles Davis – trumpet; John Coltrane – tenor saxophone; Bill Evans – piano; Paul Chambers – double bass; Jimmy Cobb – drums

Blue in Green
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Sunday, July 16, 2023

John Coltrane With Eric Dolphy - Evenings At The Village Gate

Styles: Modal, Post Bop
Year: 2023
File: MP3@320K/s
Time: 80:03
Size: 183,6 MB
Art: Front

(15:53) 1. My Favorite Things
(15:27) 2. When Lights Are Low
(10:12) 3. Impressions
(16:02) 4. Greensleeves
(22:26) 5. Africa

Recorded in 1961, Evenings at the Village Gate: John Coltrane with Eric Dolphy showcases the legendary saxophonist's quintet during their monthlong residency at the storied Greenwich Village nightclub. Along with Dolphy on alto saxophone, bass clarinet, and flute, Coltrane's group here features his classic lineup of pianist McCoy Tyner, bassist Reggie Workman, and drummer Elvin Jones.

This is the same group that would go on to record such landmark albums as 1961's Olé Coltrane, 1961's Africa/Brass, and appear together on 1961's Live! at the Village Vanguard. Recorded on a single ribbon microphone by future Nina Simone and Bob Dylan engineer Richard Alderson, the album was never intended to be released as a professional recording.

Primarily, Alderson (who was in his early twenties at the time and working as a soundman for the club) wanted to check the room's sound and try out his new microphone. The recording would eventually make its way into the vast archive of The New York Public Library for the Performing Arts, where it would be largely forgotten before eventually being rediscovered. While the sound itself is not as robust as the later Vanguard recordings, it still delivers an exciting fly-on-the-wall atmosphere, capturing the group at the apex of their transition from hard-driving modal jazz to the more avant-garde, harmonically free approach Coltrane would embrace by the middle of the decade.

Much of this transition was brought on by Dolphy, whose wide, intervallic style and adventurous harmonies had a strong influence on Coltrane, which can be heard from both players throughout the recording. Most interesting is their take on "My Favorite Things," which Coltrane recorded a year prior for his album of the same name and which became somewhat of a radio hit. Where that original recording found Coltrane interpolating the melody to a degree, here, he pushes the song to ever more bold heights, utilizing spiraling multi-note runs and throaty, atonal smears.

Equally exploratory atmospheres mark the group's take on "Impressions," a regular song in Coltrane's live shows that he leaps into here with a wild abandon. It's also easy to imagine just how unusual and distinctive Dolphy must have sounded to audiences at the time. This is especially evident when he takes the bass clarinet lead on "When Lights Are Low," playing the melody with a stark soulfulness in a style reminiscent of Sonny Rollins before launching into a solo that quickly frays the harmonic edges of the lyrical standard. Tragically, within six years after this recording, both Dolphy and Coltrane would be gone. Despite the understated and lo-fi nature of the recording, Evenings at the Village Gate is a testament to their profound artistry and creative synergy. By Matt Collar
https://www.allmusic.com/album/evenings-at-the-village-gate-john-coltrane-with-eric-dolphy-mw0004003962

Personnel: Soprano Saxophone, Tenor Saxophone – John Coltrane; Bass – Art Davis, Reggie Workman; Drums – Elvin Jones; Flute, Bass Clarinet, Alto Saxophone – Eric Dolphy; Piano – McCoy Tyner

Evenings At The Village Gate: John Coltrane with Eric Dolphy
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Monday, June 5, 2023

John Coltrane - Live in Comblain-la-Tour 1965

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 37:44
Size: 86,8 MB
Art: Front

( 9:11) 1. Vigil
( 7:29) 2. Naima
(21:04) 3. My Favorite Things

John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist, bandleader and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music.

Born and raised in North Carolina, Coltrane moved to Philadelphia after graduating high school, where he studied music. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was one of the players at the forefront of free jazz. He led at least fifty recording sessions and appeared on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk.

Over the course of his career, Coltrane's music took on an increasingly spiritual dimension, as exemplified on his most acclaimed album A Love Supreme (1965) and others. Decades after his death, Coltrane remains influential, and he has received numerous posthumous awards, including a special Pulitzer Prize, and was canonized by the African Orthodox Church.

His second wife was pianist and harpist Alice Coltrane. The couple had three children: John Jr. (1964–1982), a bassist; Ravi (born 1965), a saxophonist; and Oran (born 1967), a saxophonist, guitarist, drummer and singer. https://en.wikipedia.org/wiki/John_Coltrane

Live in Comblain-la-Tour 1965
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Saturday, May 13, 2023

Miles Davis - Workin' with the Miles Davis Quintet

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 42:07
Size: 97,8 MB
Art: Front

(5:24) 1. It Never Entered My Mind
(7:13) 2. Four
(5:43) 3. In Your Own Sweet Way
(1:59) 4. The Theme (take 1)
(8:33) 5. Trane's Blues
(7:24) 6. Ahmad's Blues
(4:46) 7. Half Nelson
(1:02) 8. The Theme (take 2)

Trumpeter Miles Davis led several sessions for Prestige Records between November 1955 and October 1956 with his legendary "first" quintet, featuring tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The sessions represent an incomparable musical legacy. Impeccably engineered by Rudy Van Gelder, the music was released on five albums that provide a unique glimpse at how five brilliant instrumentalists coalesced into one of the most extraordinary ensembles in modern jazz.

Workin' presents an easy going program that balances ballads with the blues and includes quintet performances of originals by Davis ("Four," "Half Nelson"), Coltrane ("Trane's Blues"), and Dave Brubeck ("In Your Own Sweet Way"); an interpretation of the standard "It Never Entered My Mind" without saxophone; and a piano-trio version of Ahmad Jamal's "Ahmad's Blues." Coltrane's melancholy solo on Brubeck's tune and Garland's spry excursion on Coltrane's are two of this classic's many highlights. By Mitchell Feldman https://www.amazon.com/Workin-Miles-Davis-Quintet/dp/B000000YGI

Workin' with the Miles Davis Quintet
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Wednesday, February 15, 2023

John Coltrane & Archie Shepp - New Thing At Newport

Styles: Saxophone And Piano Jazz
Year: 1966
File: MP3@320K/s
Time: 66:03
Size: 151,5 MB
Art: Front

( 1:08) 1. Spoken Introduction To John Coltrane's Set By Father Norman O'connor
(12:44) 2. One Down, One Up
(15:21) 3. My Favorite Things
( 2:02) 4. Spoken Introduction To Archie Shepp's Set By Billy Taylor
(10:28) 5. Gingerbread, Gingerbread Boy
( 6:43) 6. Call Me By My Rightful Name
( 3:26) 7. Scag
( 5:49) 8. Rufus (Swung His Face At Last To The Wind, Then His Neck Snapped)
( 8:19) 9. Le Matin Des Noire

What better place than the Newport Jazz Festival, a historically tight-laced and conservative jazz forum, for the quartets of Coltrane and Shepp to pour out their soulful selves as libations for the masses? Prior to this 1963 concert the festival’s track record with adventurous jazz fare was checkered at best. Monk and Giuffre had played there in previous years, but the focus was undeniably on the accessible and the mainstream. Things had become so skewed that Charles Mingus, Max Roach felt obligated to organize a concurrent festival of their own in protest and were given the sobriquet The Newport Rebels. Coltrane’s immense popularity made him the perfect candidate to breach Newport’s defenses and in typical benevolent fashion he brought a host of his associates in tow for a unified siege on the senses and sensibilities of the audience. What a spectacle it must have been. Fortunately the tape machines were rolling.

As if in deference to the Newport jazz community’s naïveté toward the New Thing embarrassingly banal comments from Father Norman O’Conner preface and append Trane’s performance. The so-called ‘jazz priest’ demonstrates his ignorance by referring to Elvin Jones as a ‘kind of a newcomer to the world jazz.’ Mercifully his introductions are brief and the quartet works up a lengthy lather on “One Down, One Up” before launching into a burning rundown of “My Favorite Things.” Compared to other concert recordings by the quartet the first piece is just below par, though there’s still plenty of incendiary fireworks ignited by the four on second. Coltrane’s upper register tenor solo becomes so frenetic on “One Down, One Up” that there are moments where he moves off mic, but his soprano work on “My Favorite Things” is nothing short of astonishing, a blur of swirling harmonics that threatens split his horn asunder.

After Coltrane and crew have sufficiently anointed the Newport crowd in a monsoon of New Thing sentiments it’s Shepp’s turn. His set is a different bag, brimming with political overtones and barely contained dysphoria and his sound on tenor is an arresting amalgam of raspy coarseness and delicate lyricism. Hutcherson’s glowing vibes knit gossamer webs around the rhythmically free center accorded by Phillips and Chambers. It all comes to boil on the haunting “Scag” a tone poem fueled by Phillips acerbic bow, Hutcherson’s ghostly patterns and Shepp’s bone dry recitation that captures the loneliness of a junkie’s desperation. The stuttering starts and stops of “Rufus” carry the feeling of cultural dislocation even further referencing the brutality and finality of a lynching through musical means. Shepp and his partners were pulling no punches in exposing the captive audience to their art. A low-flying plane disrupts the opening of “Le Matin des Noire,” but the four players quickly regain direction and sink into a lush Noirish vamp that carries the tune to a close.

This new version of the disc marks the first time the original 3-track tapes of the concert have been remastered and they are given the royal treatment through 24-bit digital transfers. Also included for the first time is a beautiful facsimile of the Shepp album cover picturing the saxophonist with song charts and horn.By Derek Taylor
https://www.allaboutjazz.com/new-thing-at-newport-john-coltrane-impulse-review-by-derek-taylor

Players: John Coltrane- soprano & tenor saxophones; McCoy Tyner- piano; Jimmy Garrison- bass; Elvin Jones- drums; Archie Shepp - tenor saxophone, recitation; Bobby Hutcherson - vibraphone; Barre Phillips- bass; Joe Chambers - drums.

New Thing At Newport 1965
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Monday, February 13, 2023

John Coltrane - The Gentle Side Of John Coltrane

Bitrate: 320K/s
Time: 67:09
Size: 153.7 MB
Styles: Standards, Post bop, Saxophone jazz
Year: 1975/1991/2012
Art: Front

[5:22] 1. Soul Eyes
[3:43] 2. What's New
[5:29] 3. Welcome
[3:13] 4. Nancy (With The Laughing Face)
[5:15] 5. My Little Brown Book
[9:03] 6. Wise One
[5:25] 7. Lush Life
[2:22] 8. Alabama
[4:54] 9. My One And Only Love
[4:09] 10. After The Rain
[4:13] 11. In A Sentimental Mood
[5:39] 12. Dear Lord
[8:16] 13. I Want To Talk About You

"Gentle" is a relative term, for while this collection of material is mostly pitched at a slower set of tempos and a more lyrical frame of mind, John Coltrane was no less passionate in a ballad as he was in a roaring frenzy. Originally issued on two LPs, and now as an excellent value on a single CD, The Gentle Side draws nine tracks from the legacy of the classic Coltrane quartet (with McCoy Tyner, Jimmy Garrison, and Elvin Jones), adding a pair of tracks each from his collaborations with Duke Ellington and Johnny Hartman. You can say all you want about how a collection like this disregards the musical flow of the original albums -- which is true -- and still be caught up helplessly in the staggering emotional power of this man's playing. Even when heard in this context, performances like "After the Rain" and "Welcome" remain breathtaking in their spiritual beauty, and the combination of Coltrane's eloquence and the warm, masculine baritone of Hartman can still break your heart with their most-likely-untopped interpretation of "My One and Only Love." Above all, if you know anyone who has resisted Coltrane because of the fearsome reputation of his more agitated music, lay this CD on them. ~Richard S. Ginnell

The Gentle Side Of John Coltrane
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Sunday, February 12, 2023

John Coltrane - Live at the Village Vanguard And Live At The Village Vanguard Again!

Album: Live at the Village Vanguard

Styles: Hard Bop, Avant-Garde Jazz
Year: 1966
File: MP3@320K/s
Time: 36:37
Size: 84,0 MB
Art: Front

(13:48) 1. Spiritual
( 6:40) 2. Softly as in a Morning Sunrise
(16:09) 3. Chasin' the Trane

Review: https://en.wikipedia.org/wiki/Coltrane_%22Live%22_at_the_Village_Vanguard

Personnel: John Coltrane — soprano and tenor saxophone; Eric Dolphy — bass clarinet on "Spiritual"; McCoy Tyner — piano on side one; Reggie Workman — bass on side one; Jimmy Garrison — bass on side two; Elvin Jones — drums

Live at the Village Vanguard
Album: Live At The Village Vanguard Again!

Styles: Hard Bop, Avant-Garde Jazz
Year: 1966
File: MP3@320K/s
Time: 41:41
Size: 97,1 MB
Art: Front

(15:11) 1. Naima
( 6:08) 2. Introduction To My Favorite Things
(20:21) 3. My Favorite Things

Live at the Village Vanguard Again! is one of the more hotly contested albums in John Coltrane's catalog. Released less than a year before his death, the original recording showcased his new quintet with Alice Coltrane, piano; Pharoah Sanders, tenor saxophone; Jimmy Garrison, bass; and Rashied Ali, drums. Additional percussion on the date was provided by Emanuel Rahim. The three selections here are what survive from a much longer tape. Coltrane's signature ballad "Naima" opens the album and goes on for over 15 minutes.

One of the most iconic tunes in his repertoire, the treatment it is given here is radical. While the melody is referenced in the beginning, Coltrane moves it aside fairly quickly to concentrate on improvisation. His tenor solo (heard in the left channel) begins in earnest a minute-and-a-half in. He gradually deconstructs the various phrases in the lyric to blow passionately through them. By the time Sanders begins his (overly long) tenor solo (right channel), the abstraction becomes total. His intensity and ferocity are simply more than the ballad calls for. Even when Coltrane returns to solo again, and gradually winds it down, he has to begin at that hot peak. "Naima" is a different tune when all is said and done. "My Favorite Things" is in two parts. The first six minutes belong to a gorgeous, imaginative solo by Garrison.

The tune's familiar theme is not stated by Coltrane until after the mode is introduced; then bits and pieces of the melody are brought in until they become however briefly the whole head line. It disappears quickly even though referenced occasionally throughout Coltrane's solos. His soprano solos are intense but utterly beautiful. His playing is pure passion and creative imagination, ever aware of the shimmering block chords played by Alice.

Ali skitters propulsively around them, driving insistently until he's allowed to let loose when Sanders and his tenor begin their violent wail that simply disregards the entire tune save for one quote near the end to bring Coltrane back in. Sanders screams through his horn throughout his solo, and when Coltrane rejoins him, it's to meet him and try to rein him in; it leaves the listener exhausted after its 25-minute run. Live at the Village Vanguard Again! is certainly not for Coltrane newcomers, and may indeed only hold value for his most ardent followers despite its many qualities.By Thom Jurek
https://www.allmusic.com/album/live-at-the-village-vanguard-again%21-mw0000652602

Personnel: John Coltrane – soprano saxophone, tenor saxophone, bass clarinet, flute; Pharoah Sanders – tenor saxophone, flute; Alice Coltrane – piano; Jimmy Garrison – bass; Rashied Ali – drums; Emanuel Rahim – percussion

Live At The Village Vanguard Again!
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Saturday, February 4, 2023

Miles Davis - The Miles Davis Quintet: At Peacock Alley Disc 1, Disc 2

Album: The Miles Davis Quintet: At Peacock Alley Disc 1
Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 31:11
Size: 71,9 MB
Art: Front

(0:41) 1. Intro
(5:53) 2. Ah-leu-cha
(5:19) 3. A Foggy Day
(6:35) 4. All of You
(5:13) 5. Woody 'n' You
(7:27) 6. Walkin'
Album: The Miles Davis Quintet: At Peacock Alley Disc 2
Time: 42:48
Size: 98,6 MB

( 5:16) 1. Two Bass Hit
( 7:39) 2. Well You Needn't
( 4:23) 3. Billy Boy
(11:03) 4. All of You
( 6:07) 5. Airegin
( 7:01) 6. Newk #2/Theme
( 1:16) 7. Sign Off-Theme

Miles Davis at Peacock Alley is an unauthorized bootleg album by jazz musician Miles Davis. It was recorded in a two-part broadcast on KXLW-AM on July 14 and July 21, 1956, from Peacock Alley in the Gaslight Square entertainment district of St. Louis. The sessions were hosted by Spider Burks, a local DJ who championed jazz, and was also one of St. Louis’ first black Disc Jockeys.
https://en.wikipedia.org/wiki/Miles_Davis_Quintet_at_Peacock_Alley

Personnel: Miles Davis — trumpet; John Coltrane — tenor saxophone; Red Garland — piano; Paul Chambers — bass; Philly Joe Jones — drums

The Miles Davis Quintet: At Peacock Alley Disc 1, Disc 2
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Miles Davis - Miles Davis And The Modern Jazz Giants

Styles: Trumpet Jazz
Year: 1956
File: MP3@320K/s
Time: 42:12
Size: 98,5 MB
Art: Front

( 7:59)  1. The Man I Love (Take 2)
(10:46)  2. Swing Spring
( 5:24)  3. 'Round Midnight
( 9:32)  4. Bemsha Swing
( 8:29)  5. The Man I Love (Take 1)

Including sessions recorded the same day as those on Bags Groove, this album includes more classic performances from the date that matched together trumpeter Miles Davis, vibraphonist Milt Jackson, pianist Thelonious Monk, bassist Percy Heath, and drummer Kenny Clarke. Davis and Monk actually did not get along all that well, and the trumpeter did not want Monk playing behind his solos. Still, a great deal of brilliant music occurred on the day of their encounter, including "The Man I Love," "Bemsha Swing," and "Swing Spring." ~ Scott Yanow https://www.allmusic.com/album/miles-davis-and-the-modern-jazz-giants-mw0000199989

Personnel:  Miles Davis – trumpet;  John Coltrane – tenor saxophone;  Milt Jackson – vibraphone;  Thelonious Monk – piano;  Red Garland – piano;  Percy Heath – bass;  Paul Chambers – bass;  Kenny Clarke – drums;  Philly Joe Jones – drums


Miles Davis And The Modern Jazz Giants
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Friday, October 7, 2022

John Coltrane - A Love Supreme: Live in Seattle

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 75:31
Size: 173,2 MB
Art: Front

(21:53) 1. A Love Supreme, Pt.I: Acknowledgement
( 2:28) 2. Interlude 1
(11:05) 3. A Love Supreme, Pt.II: Resolution
( 6:23) 4. Interlude 2
(15:27) 5. A Love Supreme, Pt.III: Pursuance
( 6:32) 6. Interlude 3
( 4:20) 7. Interlude 4
( 7:21) 8. A Love Supreme, Pt.IV: Psalm

John Coltrane was moving faster than the speed of sound in 1965. Besides divining his place within the music, the world, his God, he was touring; a two week gig with Thelonious Monk at the Village Gate led to Newport then into a frenetic week in Europe. With the classic quartet plus Archie Shepp, Art Davis and Freddie Hubbard he had just completed the mind-bending sonic assault Ascension (Impulse!, 1966). That anyone could keep up with him or think one step ahead of him was Herculean. Few did. That is why we are still fascinated to listen when they do. To discover. To be some small part of something larger.

A Love Supreme: Live In Seattle memorialises for only the second known time; the first full performance of this holy suite was in Antibes, France, on July 26, 1965 released masterfully after decades of bootlegs, variations, and augmentations galore as part of A Love Supreme: The Complete Masters (Impulse, 2013).

Discovered in the private collection of Seattle saxophonist and educator Joe Brazil, this blistering October 2, '65 performance culminated a week's residency at The Penthouse, where the fiercely difficult and unapologetically atonal Live In Seattle (Impulse, 1971) was also recorded. Here, we find Coltrane moving singularly beyond the structures and strictures of the summer, expanding the live sound to include not only McCoy Tyner, Elvin Jones and Jimmy Garrison but also fellow rogue sax visionary Pharoah Sanders, second bassist Donald Raphael Garrett and also on sax Carlos Ward.

Despite the lack of contemporaneous fanfare, and given the fact that the night was recorded with two microphones, A Love Supreme Live In Seattle is not only a performance for the ages but a marvelous sounding one as well. Intensely immersive, the music builds upon the original template until it becomes something startlingly original yet again: A revived prayer, a bold logistic, a howling tribute to the soul. Each man is a force of indisputable nature (check out Tyner and Jones especially on "Pursuance: Part III," Coltrane and Sanders free, shrieking energy throughout.) Wheeling, keening, pleading, the music implores the higher power to reveal himself/herself/itself to the club's capacity crowd (275 very lucky souls) and now it implores us, compels us, to pay reverent attention to every moment. To every breath. And pray. By Mike Jurkovic https://www.allaboutjazz.com/a-love-supreme-live-in-seattle-john-coltrane-impulse-records__25172

Personnel: John Coltrane: saxophone; Pharoah Sanders: saxophone, tenor; Carlos Ward: saxophone, alto; McCoy Tyner: piano; Jimmy Garrison: bass, acoustic; Donald Garrett: bass, acoustic; Elvin Jones: drums.

A Love Supreme: Live in Seattle
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Monday, October 4, 2021

Miles Davis Quintet - Steamin'

Styles: Trumpet Jazz
Year: 1961
File: MP3@320K/s
Time: 40:11
Size: 92,3 MB
Art: Front

(9:06) 1. Surrey with the Fringe on Top
(6:10) 2. Salt Peanuts
(6:17) 3. Something I Dreamed Last Night
(7:52) 4. Diane
(6:20) 5. Well, You Needn't
(4:24) 6. When I Fall in Love

Although chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums Cookin', Relaxin', Workin', and ultimately, Steamin'. A primary consideration of these fruitful sessions is the caliber of musicians Miles Davis (trumpet), Red Garland (piano), John Coltrane (tenor sax), and Philly Joe Jones (drums) who were basically doing their stage act in the studio. As actively performing musicians, the material they are most intimate with would be their live repertoire. Likewise, what more obvious place than a studio is there to capture every inescapable audible nuance of the combo's musical group mind. The end results are consistently astonishing. At the center of Steamin', as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians.

"Surrey With the Fringe on Top" is passed between the mates like an old joke. Garland compliments threads started by Davis and Coltrane as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers Charlie Parker and Dizzy Gillespie on a revision of their "Salt Peanuts." Philly Joe Jones' mimicking cymbal speak which replicates Gillespie's original vocals is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original. Thelonious Monk also gets kudos on "Well, You Needn't." This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard. Although there is no original material on Steamin', it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications.~ Lindsay Planer https://www.allmusic.com/album/steamin-with-the-miles-davis-quintet-mw0000191715

Personnel: Miles Davis – trumpet; John Coltrane – tenor saxophone (except 3 and 6); Red Garland – piano; Paul Chambers – bass; Philly Joe Jones – drums

Steamin'
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Friday, August 27, 2021

Conrad Herwig - The Latin Side of John Coltrane

Styles: Trombone Jazz
Year: 1996
File: MP3@320K/s
Time: 70:04
Size: 161,0 MB
Art: Front

(1:17)  1. Blessing
(6:05)  2. A Love Supreme (Supremo Amor)
(6:52)  3. Blue Train
(9:38)  4. Afro-Blue
(4:41)  5. Naima
(7:59)  6. Satellite
(6:37)  7. Africa
(4:36)  8. After the Rain
(7:26)  9. Impressions
(7:44) 10. India
(5:43) 11. The Drum Thing
(1:20) 12. Blessing (Reprise)

A great idea beautifully executed by New York trombonist Conrad Herwig. The trombonist/arranger/musical director chooses Coltrane's most accessible material from a period that arguably spawned his best, most memorable work (1958-1964), devised simple, exploratory frameworks for each (recalling veteran Chico O'Farrill), then assembled an outstanding collection of musicians. In addition to Herwig's sinewy trombone, there's Brian Lynch on trumpet, Dave Valentin on flutes, Ronnie Cuber on baritone, Richie Beirach (who contributed to some of the arrangements), Danilo Perez and Eddie Palmeri on piano, Andy Gonzalez (from the Fort Apache Band) on bass and Milton Cardona on vocals and percussion. Selections are outstanding: "A Love Supreme," "Blue Train," (where Lynch trades fours with Herwig), "Afro Blue" (great flute solo by Valentine), "Naima" (beautifully featuring Beirach), "After The Rain," "Impressions" and "India." Throughout, Herwig solos flawlessly, with a sensitivity and fire that's reminiscent of the source of his tribute. Herwig's record, more than Joe Henderson's recent big-band event, sounds like a natural conclusion. The arrangements and performances work well together and the Latin environment seems a logical foundation for Coltrane's passions. One last note: Astor Place has done a beautiful job packaging The Latin Side of John Coltrane , sparing no expense for trendy art direction that recalls some of the very expensive covers Limelight Records put out in the mid 60s. Recommended. ~ Douglas Payne https://www.allaboutjazz.com/the-latin-side-of-john-coltrane-conrad-herwig-astor-place-review-by-douglas-payne.php

Personnel: Conrad Herwig - trombone, musical director;  Brian Lynch - trumpet;  Alex Sippiagin - trumpet;  Mike Ponella - trumpet;  Ray Vega - trumpet;  Dave Valentin - concert flute, alto flute, bass flute;   Ronnie Cuber - baritone saxophone;  Gary Smulyan - baritone saxophone;   Danilo Pérez - piano; Eddie Palmieri - piano;  Edward Simon - piano;  Richie Beirach - piano;   John Benitez - bass;   Andy González - bass;  Adam Cruz - drums;  Jose Clausell - timbales, percussion;  Richie Flores - congas;   Milton Cardona - vocals, bata, congas, percussion;  John Coltrane - tribute to, composer

The Latin Side of John Coltrane
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Saturday, August 21, 2021

Red Garland - Soul Junction

Bitrate: MP3@320K/s
Time: 42:22
Size: 97.0 MB
Styles: Bop, Piano jazz
Year: 1957/2013
Art: Front

[15:24] 1. Soul Junction
[ 6:46] 2. Woodyn' You
[ 7:31] 3. Birks' Works
[ 6:12] 4. I've Got It Bad And That Ain't Good
[ 6:27] 5. Hallelujah

Bass – George Joyner; Drums – Arthur Taylor; Piano – Red Garland; Tenor Saxophone – John Coltrane; Trumpet – Donald Byrd.

Pianist Red Garland's very relaxed, marathon blues solo on the 15-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

Soul Junction
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Friday, September 18, 2020

Tommy Flanagan, John Coltrane, Kenny Burrell - The Cats

Styles: Jazz, Post Bop
Year: 1983
File: MP3@320K/s
Time: 42:21
Size: 97,5 MB
Art: Front

( 7:24) 1. Minor Mishap
( 5:55) 2. How Long Has This Been Going On?
( 7:55) 3. Eclypso
( 9:07) 4. Solacium
(11:58) 5. Tommy's Tune

The Cats are John Coltrane, Kenny Burrell, Tommy Flanagan, and Idrees Sulieman, heavyweights that clearly mark this as a Prestige All-Stars blowing session. However, this 1957 recording is actually a showcase for Flanagan, a rising star in his first major role. None of the tunes are all that challenging, following basic blues formulas that befit the nature of the session, which was probably quickly organized and recorded. But as you might expect this gives the players plenty of opportunities to wail.Coltrane demonstrates that he would soon be exploring more harmonically advanced territories than the others, tearing through rapid-fire solos with no trouble whatsoever. Burrell takes a more laid-back approach, stringing together bluesy licks in a relaxed fashion. If there's a weak link here, it's Sulieman, who despite a few nice solos seems tentative in spots and a little directionless in others.
But fortunately this is Flanagan's session, a gifted sideman who provides the right support to make sure that everyone stays on course. Along with the sextet tunes, a trio recording of "How Long Has This Been Going On?" proves that Flanagan was capable of handling the spotlight on his own. The slow, graceful rendering of the standard proves that the pianists had plenty of originality and taste and is the only track on the album that stands out. The Cats isn't the best recording by any of these musicians, who recorded in various combinations elsewhere (the later Kenny Burrell with John Coltrane , which also features Flanagan, is an essential purchase), but nevertheless The Cats is a solid album with plenty of tasty playing.~ David Rickert https://www.allaboutjazz.com/the-cats-john-coltrane-prestige-records-review-by-david-rickert.php

Personnel: Tommy Flanagan - piano; John Coltrane - tenor sax; Idrees Sulieman - trumpet; Kenny Burrell - guitar; Doug Watkins - bass; Louis Hayes - drums.

The Cats
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Saturday, August 17, 2019

Thelonious Monk Septet - Monk's Music

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 48:06
Size: 112,2 MB
Art: Front

( 0:52)  1. Abide With Me
(11:22)  2. Well You Needn't
( 5:24)  3. Ruby, My Dear
( 5:06)  4. Off Minor - Take 5
( 5:13)  5. Off Minor - Bonus Track
(10:44)  6. Epistrophy
( 4:36)  7. Crepuscule With Nellie - Take 6 / Mono
( 4:45)  8. Crepuscule With Nellie - Bonus Track

Many albums in the Original Jazz Classics reissue series include alternate takes or tracks recorded for, but ultimately not included on, the original vinyl LP. The label's 2011 Remasters edition of pianist Thelonious Monk's Monk's Music (Riverside, 1957) is no exception but is something of a first, in that "Blues For Tomorrow," the 13:33 minute bonus track, does not include a single note from the leader. The track was recorded on June 25, 1957, in the closing minutes of an otherwise unproductive session. Monk, unusually, arrived on time, but was distracted with worry about his wife, Nellie, who was in hospital. Drummer Art Blakey arrived an hour late and then had to assemble and mic up his kit. The band had difficulty following Monk's directions, leading Monk to exclaim to tenor saxophonists Coleman Hawkins and John Coltrane, "You're the great Coleman Hawkins, right? You're the guy who invented the tenor saxophone, right? Your'e the great John Coltrane, right? Well, the music is in the horn. Between the two of you, you should be able to find it." Eventually, towards the due end of the session, Monk threw in the towel and went home. Producer Orrin Keepnews, desperate to salvage some releasable music from the date, asked the remaining sextet to record a blues, which was quickly put together by alto saxophonist Gigi Gryce. "Blues For Tomorrow" was not included on the original Monk's Music, and was first released on a Riverside various artists compilation. (The alternate takes of "Off Minor" and "Crepuscule With Nellie" have long been included on reissues of Monk's Music). Happily, a second session on June 26 went resoundingly well, producing the other eight tracks which make up the Remasters disc which also includes, in the 00:55 minute opener, "Abide With Me," a second Monkless item, this one arranged by Monk for the horns only, as a curtain-raiser to the album proper. Monk's horns-rich arrangements, and the quality of the soloists to hand, has made Monk's Music a well-loved and important part of Monk's canon. Compositionally, however, it marked time. Putting aside its immediate predecessor, Thelonious Himself (Riverside, 1957), on which the mostly unaccompanied Monk focused on standards, it followed Brilliant Corners (Riverside, 1956), on which Monk led a quintet/septet on mostly freshly composed material. Most of the tunes on Monk's Music would have been familiar to the assembled musicians, who were thrown on June 25 by new and tricky arrangements and, very likely, by Monk's distracted mood.  Joe Tarantino's 24-bit remaster does Monk's Music proud, and it is appropriate to have "Blues For Tomorrow" on the same disc even if there's no Monk. ~ Chris May https://www.allaboutjazz.com/monks-music-thelonious-monk-original-jazz-classics-remasters-review-by-chris-may.php

Personnel: Thelonious Monk: piano (2-8); Ray Copeland: trumpet (1, 2, 4-9); Gigi Gryce: alto saxophone (1, 2, 4-9); John Coltrane: tenor saxophone (1, 2, 4-9); Coleman Hawkins: tenor saxophone; Wilbur Ware: bass (2-9); Art Blakey: drums (2-9).

Monk's Music
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Thursday, May 31, 2018

Johnny Hodges - Storyville Masters Of Jazz

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 75:02
Size: 173,4 MB
Art: Front

(3:50)  1. Don't Get Around Much Anymore
(4:13)  2. Passion Flower
(2:56)  3. Perdido
(1:55)  4. All Of Me
(2:30)  5. C Jam Blues
(2:23)  6. I Got It Bad And That Ain't Good
(7:10)  7. In A Mellotone
(3:42)  8. Cambridge Blues
(4:37)  9. Brute's Roots
(2:51) 10. Bouncing With Ben
(5:16) 11. One For The Duke
(5:49) 12. Walkin' The Frog
(4:52) 13. Rabbit Pie
(4:17) 14. On The Sunny Side Of The Street
(3:36) 15. Good Queen Bess
(2:53) 16. The Jeep Is Jumpin'
(5:22) 17. Things Ain't What They Used To Be
(2:34) 18. Jeep's Blues
(4:05) 19. Dooji Wooji

Johnny Hodges is forever associated with Duke Ellington as one of his principle soloists, though he recorded extensively as a bandleader himself beginning in the '50s. This compilation draws from earlier Storyville releases, including a number of features for the alto saxophonist with Ellington, highlighted by "All of Me" and "Jeep's Blues." But the bulk of this CD contains all ten tracks of Hodges' earlier disc, Masters of Jazz, Vol. 9, which features the saxophonist leading two separate groups of all-stars in club settings. Six tracks come from a 1960 set at The Cellar in San Francisco, with Ben Webster providing a perfect foil for Hodges, all originals by the leader. Four selections come from a Norman Granz-sponsored European tour in 1961, where Hodges led a group of fellow Ellington veterans (Harry Carney, Ray Nance, Lawrence Brown, Aaron Bell and Sam Woodyard, with pianist Al Williams). Hodges' swinging take of "On the Sunny Side of the Street" is brilliant, with the other horn providing lush background and soft rifts for the soloist. In addition to Hodges, Brown also solos in both "Good Queen Bess" and a rousing "Things Ain't What They Used to Be." Highly recommended! ~ Ken Dryden https://www.allmusic.com/album/masters-of-jazz-mw0000547336      

Personnel: Johnny Hodges (alto saxophone); Herb Ellis, Fred Guy (guitar); Russell Procope (clarinet, alto saxophone); Harry Carney (bass clarinet, baritone saxophone); Oett "Sax" Mallard (alto saxophone); Jimmy Hamilton, John Coltrane, Paul Gonsalves, Ben Webster (tenor saxophone); Harold Baker, Al Killian, Ray Nance, Rex Stewart, Shelton Hemphill, Francis Williams , Wallace Jones, Cat Anderson (trumpet); Joseph Nanton, Lawrence D. Brown, Juan Tizol, Quentin Jackson, Tyree Glenn (trombone); Victor Feldman, Duke Ellington, Lou Levy, Billy Strayhorn (piano); Gus Johnson , Sam Woodyard, Sonny Greer (drums).

Storyville Masters Of Jazz
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Thursday, April 12, 2018

Red Garland Quintet, John Coltrane - Dig It!

Bitrate: MP3@320K/s
Time: 33:35
Size: 76.9 MB
Styles: Bop, Piano jazz
Year: 1962/2012
Art: Front

[ 9:22] 1. Billie's Bounce
[ 3:25] 2. Crazy Rhythm
[ 4:40] 3. CTA
[16:05] 4. Lazy Mae


Bass – George Joyner; Drums – Arthur Taylor; Piano – Red Garland; Tenor Saxophone – John Coltrane; Trumpet – Donald Byrd. "CTA" recorded March 22, 1957; "Billie's Bounce," "Lazy Mae" recorded December 13, 1957; "Crazy Rhythm" recorded February 2, 1958.

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 musicians cleaner and brighter. ~Michael G. Nastos

Dig It! mc
Dig It! zippy
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