The next two albums overlap a bit in their studio recording dates. Coltrane left Monk's working band to rejoin Miles' group. With Cannonball and the rest of the band, they enter Columbia's 30th Street studio on February 4, 1958 to begin work on Milestones. But they don't finish recording until they return on March 4. In the meantime, Coltrane and the Red Garland Trio go down to Rudy's on February 7 to record: John Coltrane - Soultrane Prestige 7142 Recorded February 7, 1958 At Rudy Van Gelder's Hackensack home studio With Red Garland (p), Paul Chambers (b), Art Taylor (dr) 1. Good Bait 2. I Want to Talk to You 3. You Say You Care 4. Theme for Ernie 5. Russian Lullaby In my experience, people who like Coltrane but don't have many of the Prestige albums tend to have this one. It was the last record he made for Prestige that was released in the year it was recorded, with Trane's involvement. This is most notable, perhaps, for Ira Gitler's first use of the phrase "sheets of sound" in the liner notes. Red begins "Russian Lullaby" with an out-of-tempo introduction before Trane comes ripping in. Taking this and "Soft Lights and Sweet Music" as evidence, it would seem that the boys like to play their Irving Berlin at high velocity. I'm sure this "Lullaby" would keep Nikita awake and swinging all night. Trane's "sheets of sound", which he has since put to wider use, are demonstrated in the beginning of the tag. And indeed they are! Gitler also notes that Coltrane has shed the influence of Sonny Rollins to become his equal and an influencer in his own right. When reading The New Yorker, usually I am most amused by an S.J. Perelman gem, the cartoons or something in "The Talk of the Town." In the May 17, 1958 issue, however, it was the jazz department that gave me my biggest guffaw when Whitney Ballet, in the course of reviewing a Miles Davis album, wrote, "Coltrane, a student of Sonny Rollins . . .". Of course, we know he didn't mean that Trane was going to Sonny's house, armed with a Klose book, for weekly lessons but the implication was clear, in this perfunctory dismissal, that Coltrane was indebted to Rollins for his style. It is true that when Coltrane joined Miles Davis' quintet in late 1955, Sonny (the Rollins of that time and slightly before) was exerting a peripheral influence over him. Even this proved to be transient. The influences of Dexter Gordon (vintage 1946), Sonny Stitt, Stan Getz (certain facets of sound) and a general essence of Charlie Parker were more evident, even then. Since that time, Trane has developed along personal lines to become quite an influence himself. He and Sonny are parallel figures now, each contributing new ideas to jazz in his own way. And so they would continue, as parallel figures and as friends, each a giant of the tenor saxophone and a towering figure in jazz history. What do you all think about this classic Coltrane album?
Great album name! I haven't listened to this one in a while, but I love it. I love the players here and the fact that it's a quartet setting in this phase of his playing. Art Taylor tends to get looked over but I think he's a fantastic drummer.
The "sheets of sound" Wikipedia entry is pretty well done and worth a read. It hammers home the harmonic influence Monk had on Trane's development, and that Trane would continue experimenting in this style in his own recordings and with Miles' band. This really makes me feel for any jazz student who's had to transcribe these solos. Sheets of sound - Wikipedia
Miles Davis - Milestones Recorded Feb. 4 and March 4, 1958 at Columbia's 30th Street Studio With John Coltrane (ts), Cannonball Adderley (as), Red Garland (p), Paul Chambers (b), and Philly Joe Jones (dr) 1. Dr. Jekyll (Jackie McLean) 2. Sid's Ahead (Miles Davis) 3. Two Bass Hit (John Lewis/Dizzy Gillespie) 4. Miles (Milestones) (Miles Davis) 5. Billy Boy (Trad.; arr. Ahmad Jamal) 6. Straight, No Chaser (Thelonious Monk) This record really needs no introduction, but I'll spare a few thoughts. It's simply one of the all-time great jazz records. Coltrane is newly back with Miles, having completed his residency with Monk and kicked (or nearly kicked, I can't remember the exact timing just now) his smack habit. The Miles Davis Quintet is rounded out to a sextet with Cannonball Adderley; this would be the last time Garland and Jones play with the group as a unit, though Jones would later make a guest appearance at a Miles Davis studio date. The influence of Ahmad Jamal is front and center, not only in his arrangement of "Billy Boy," but also in Miles' first use of modal scales on record, most notably in the classic "Milestones," which would go on to become a standard. This band, minus Garland and Jones, plus Bill Evans and Jimmy Cobb, would go on to scale (pun intended) great heights on the modal 1958 Miles (aka side 2 of Jazz Track, minus a track) and Kind of Blue (minus Evans, plus Wynton Kelly on one track). Adderley's playing is fast and lyrical. Trane's is fast and harmonic. Catch them trading eights on "Dr. Jekyll."
...I had a ritual this week of coming home from work and listening to this album. It has climbed its way to a “favorite” status with me, maybe even a little more than KOB. I even was looking forward to coming home today just to crack open an 805 and blast this album loud (family not home ). I think Tranes’ solos are all outstanding on this album. Man, that first track, “Dr. Jeckyll” !! Woo wee, I’m sweatin’ man. And of course the title track just gets lodged in my brain. I can whistle it all day. What a classic and dare I say a bit overlooked. In such an iconic discography it’s expected.
This thread is getting close to when I get on board the 'trane, mostly after the Prestige years although I like them OK too. Thanks to y'all for reminding me I need Lush Life and Soultrane in my collection. There's a live version of I Want to Talk About You from Newport '63 that kills me every time. Hoping I'll enjoy the studio version also.
Totally missed this thread. I will add that I’ve found most of his 1949-1952 materially digitally and it’s of little consequence from a Coltrane perspective. Just a young kid playing sax in various big bands. You’d have a hard time picking him out. For academic interest only.
There is so much material on Prestige aside from the famous Davis sessions. I have managed to gather it all through legal digital download services, but as a listener I am still a novice. In general, I would say it ranges from good to excellent, and is essential listening compared to the earlier big band material. Now you really get a sense of Coltrane as an evolving soloist and leader. One thing I really like about this era is that you get to hear Coltrane with some unusual instrumentation. French Horn, two tenor saxes, and guitar with the wonderful Kenny Burrell. I would highly recommend the three Prestige sets Fearless Leader, Interplay, and Side Steps as a way to gather up this material. Excellent masterings and when they were released made the material more accessible than the expensive, out of print complete Prestige box set. I managed to get Fearless Leader for $9.99 from iTunes a few years ago. What a steal!
The two Ray Draper albums are great. I don’t remember anything in particular about Coltrane’s playing, but his presence led me to appreciate Draper’s voice in jazz. He really elevates what would typically be a background instrument in a marching band or orchestra. Definitely worthwhile listens.
Kenny Burrell & John Coltrane New Jazz 8276 Recorded March 7, 1958 at RVG's Hackensack studio Originally released in 1963 With Tommy Flanagan (p), Paul Chambers (b), Jimmy Cobb (dr) 1. Freight Trane (Flanagan) 2. I Never Knew 3. Lyresto (Burrell) 4. Why Was I Born? 5. Big Paul (Flanagan) Here's a link to the AllMusic review: Kenny Burrell & John Coltrane - Kenny Burrell, John Coltrane | Songs, Reviews, Credits | AllMusic
AllMusic notes that this is the final Prestige-related album featuring Coltrane as a sideman. It also notes that "Why Was I Born" and "Big Paul" are the highlights here, an opinion with which I agree. The first three numbers are nothing to write home about, though any Coltrane completist will probably have all the tracks here in some form. I actually don't have a physical copy of this album, so it's streaming for me. A solid entry in the discography, but inessential, in my opinion.
Despite being a guitarist, I know very little about jazz guitar, so I can’t comment on the album’s quality compared to other jazz guitar of the time. That said, I always enjoy listening to this one. Coltrane and Burrell sound great together and it is rare to hear him play with a guitarist.
He wasn't really a kid (26 years old in 1952), otherwise I agree with that assessment. The most interesting pre-Miles recordings are radio broadcasts with Dizzy's quintet from Birdland in 1951. John gets plenty of room to solo. Some of the tunes have appeared on grey market releases, but some can only be found in "collector's circles":
Thanks to Spotify I've just sampled this album. The difference between the sax and the guitar pre overdrive, distortion and feedback was harmonics, feeling and power. Can't remember if it was John McLaughlin who said it, but 50s and 60s jazz guitar just didn't pull you in emotionally like Coltrane did.
I wouldn't go so far as to say that jazz guitar in the 50s and 60s doesn't pull you in emotionally like Coltrane, but there were few musicians on Coltrane's level by 1958, in my opinion. That being said, check out Kenny Burrell's Midnight Blue or Grant Green's Idle Moments, Matador, or Solid for engaging jazz guitar from that general period.
I'm going to go out of order a bit to combine Coltrane's 1958 sessions with Wilbur Harden, which took place at Rudy's Hackensack studio on March 13 and June 24 of that year. The sessions yielded tracks on the following releases: Wilbur Harden, Tommy Flanagan - Mainstream 1958 (Savoy MG 12127) Wilbur Harden, flugelhorn; John Coltrane, tenor sax; Tommy Flanagan, piano; Doug Watkins, bass; Louis Hayes, drums. Van Gelder Studio, Hackensack, NJ, March 13, 1958 Wells Fargo West 42nd Street E.F.F.P.H. Snuffy Rhodomagnetics John Coltrane, Wilbur Harden - Countdown (Savoy SJL 2203) same session. Van Gelder Studio, Hackensack, NJ, March 13, 1958 Wells Fargo (alternate take) Rhodomagnetics (alternate take) Countdown Countdown (alternate take) John Coltrane, Wilbur Harden - Gold Coast (Savoy SJL 1115) Wilbur Harden, trumpet, flugelhorn; Curtis Fuller, trombone; John Coltrane, tenor sax; Howard Williams, piano; Alvin Jackson, bass; Art Taylor, drums. Van Gelder Studio, Hackensack, NJ, May 13, 1958 B.J. #1 Wilbur Harden, trumpet, flugelhorn; Curtis Fuller, trombone; John Coltrane, tenor sax; Tommy Flanagan, piano; Alvin Jackson, bass; Art Taylor, drums. Van Gelder Studio, Hackensack, NJ, June 24, 1958 Dial Africa #1 John Coltrane, Wilbur Harden - Dial Africa (Savoy SJL 1110) Wilbur Harden, trumpet, flugelhorn; Curtis Fuller, trombone; John Coltrane, tenor sax; Howard Williams, piano; Alvin Jackson, bass; Art Taylor, drums. Van Gelder Studio, Hackensack, NJ, May 13, 1958 B.J. #2 Wilbur Harden - Tanganyika Strut (Savoy MG 12136) same session. Van Gelder Studio, Hackensack, NJ, May 13, 1958 B.J. #3 Anedac Once In A While Wilbur Harden, trumpet, flugelhorn; Curtis Fuller, trombone; John Coltrane, tenor sax; Tommy Flanagan, piano; Alvin Jackson, bass; Art Taylor, drums. Van Gelder Studio, Hackensack, NJ, June 24, 1958 Tanganyika Strut ** also issued on Savoy SST 13005. Wilbur Harden - Jazz Way Out (Savoy MG 12131) Wilbur Harden, trumpet, flugelhorn; Curtis Fuller, trombone; John Coltrane, tenor sax; Tommy Flanagan, piano; Alvin Jackson, bass; Art Taylor, drums. Van Gelder Studio, Hackensack, NJ, June 24, 1958 Dial Africa #2 Oomba Gold Coast ** also issued on Savoy SST 13004.
I'm not at all familiar with these Savoy sessions with Wilbur Harden, so I'm streaming on Apple Music, The Complete Savoy Sessions, Wilbur Harden and John Coltrane. This is some pretty fine hard bop with fiery playing from Trane. Well worth a listen. Any of you have this material and could you spare some thoughts? I'd love to know more.
I'm not following this sentiment at all. Maybe as criticism of that particular album, but as a whole with regard to all 50s/60s jazz guitar (especially the 60s) I don't find it valid. Wow, I don't have any of those nor have I heard them. Need to dive in at some point...
I only found this set last year having finally mined the Prestige material. I don’t know it in enough depth to comment; but it is seriously good. Anybody know how these sessions came to be?
"Wilbur Harden (December 31, 1924, Birmingham, Alabama – June 10, 1969, New York City) was an American jazztrumpeter, flugelhornist, and composer.[1] "Harden is most known for his recordings with saxophonists Yusef Lateef and John Coltrane, and with trombonist Curtis Fuller. One of the first jazz trumpeters to double on flugelhorn, his playing became less frequent due to illness. He started his career with Roy Brown and Ivory Joe Hunter, before moving to Detroit in 1957 to play with Yusef Lateef's quintet. In late 1958 Harden fell seriously ill, spending four years under medical care. His last recording session took place in 1960 with Fuller's group, following a brief release from the hospital. Subsequently, he stopped playing and died in 1969, in New York City. "He is a 1991 inductee of the Alabama Jazz Hall of Fame." Wilbur Harden - Wikipedia
Roughly two weeks after his first session with Wilbur Harden, Trane was back at Rudy's Hackensack studio to make: John Coltrane - Settin' the Pace PRLP 7213 Recorded March 26, 1958 With Red Garland (p), Paul Chambers (b), and Art Taylor (dr) Though this was recorded in 1958, it wouldn't be released until 1961, after Coltrane's departure from Prestige and without his involvement. In fact, this thread has seen the end of Coltrane's active participation in Prestige releases already. The year 1958 would bring some more recordings for Prestige that went unreleased at the time, which we will soon turn to, as well as a handful of sideman appearances, including with the famous Miles Davis Sextet. Another track from this session ended up completing 1966's misleading named The Last Trane, so feel free to discuss that one, too. From Joe Goldberg's liner notes: Settin' the Pace seems to me to be an excellent title for a collection of John Coltrane performances recorded in 1958. By that time, he had already been a member of both the Miles Davis Quintet and the Thelonious Monk Quartet, and his role in jazz (as evidenced by a brief listening to several of the younger tenor players) was shifting from student to teacher. The decision to release this album now is to a certain extent determined by economic considerations, but it also happens to throw light on certain aspects of the jazz business which warrant discussion. Had the album been released at the time it was recorded, it would have reached the small nucleus of Coltrane followers then active and for the rest been largely ignored. The record that was released at that time (Traneing In, Prestige 7123 [a/k/a John Coltrane with the Red Garland Trio]), made with the same personnel as this, got more or less that kind of reception, but today is regarded as one of the highest points of Coltrane's recorded achievement. Settin' the Pace, on the other hand, will undoubtedly find a large waiting audience, for Coltrane has by now stepped into the small circle reserved for those jazz musicians whose every recording is of unique interest. Of course, by definition, that was true at the time (the record was obviously just as good when it was made as it is today or will be ten years from now), but it takes the audience and the writers a while to catch up. . . . By the time the pendulum of fashion had swung from the west coast to the east, there were two preeminent tenor saxophonists, and since they had played with many of the same men, and even, on one notable occasion, recorded together, they became the center of the "who is best" conversations. They were, of course, Coltrane and Sonny Rollins, and for those who are interested, their joint recording is Tenor Madness (7047). It is interesting and puzzling to note that at the time of the release of that record, many listeners could not tell the two players apart. I doubt that anyone was less pleased than the two principals at the sort of publicity-inspired controversy that centered around them. But one of the results it had was that it was not until Rollins' temporary retirement in 1959 (there were those who said the controversy was a contributing factor in his decision) that Coltrane came, in terms of public acceptance, into his own. That he had come into his own musically long before that time is nowhere better attested to than on this current release. . . . To Coltrane, the new approval manifests itself primarily in terms of economics: more work, and a better price for it. That he already had the assurance can be heard throughout this record. One aspect of Coltrane's work, apparent here, is just beginning to be noticed. He is one of our most lyrical musicians, but it is not a standard form of lyricism--it does not gush and does not cloy--and that quality went unnoticed for a long time when the discussions of his work were primarily concerned with the technical innovations he was making. While Ornette Coleman, in whose playing John is extremely interested, has been concerned with more freedom from what has been termed "the chord barrier," Coltrane was pushing to the ultimate harmonic limit. As Cannonball Adderley put it in Jazz Review, "Coltrane knows more about chords than anyone. John knows exactly what he's doing; he's gone into the melodic aspects of chords. He may go 'out of the chord,' so-called, but not out of the pattern he's got in his mind." That insistence on implicit harmonic effect, coupled with his rhythmic innovations ("I found," Coltrane wrote in Down Beat, "there were a certain number of chord progressions to play in a given time, and sometimes what I played didn't work out in eighth notes, 16th notes, or triplets. I had to put the notes in uneven groups like fives and sevens to get them all in.") resulted in the so-called "sheets of sound" that, for a time, blinded people to anything else he was doing.
