This year marks 50 years since the passing of the great John Coltrane (and 10 years since that of his wife Alice Coltrane). On 18 November, a special commemorative concert is to be held at The Barbican in London.
It features a rare London appearance by Pharoah Sanders (hopefully accompanied by pianist William Henderson) with Denys Baptiste and Alina Bzhezhinska also performing on the bill.
The concert publicity says it will be:-
A three-part journey through the cosmos, celebrating the profound musical and spiritual legacy of two of the most influential figures in Western musical history: Alice and John Coltrane.
When I checked the Barbican Box Office on 25 August 2017, the concert had sold out.
From time to time it takes me an age to write a post. Monk’s Music is a recording that is too good to hurry over but equally two months between posts is too much of a gap to be happy with. I’ve many other things to write about (not in the least the copy of Monk’s Les Liaisons Dangereuses which I managed to purchase on Record Store Day UK 2017 and which I will write about very soon). So here goes with a look at a one of the great works from a musical genius.
Recorded sixty years ago this year (2017), in his own 40th year, Monk’s Music is a masterpiece. The album was the product of a landmark recording session for which Monk engaged that trailblazer of jazz saxophone, Coleman Hawkins, alongside John Coltrane who was in the midst of a crucial, transformative phase and was yet to emerge as one of the key figures of modern jazz.
Although 1957 was to be his finest year, things had started very badly for Monk. In his definitive biography, Robin D.G. Kelley explains that during the 1956 Christmas holiday period Monk was involved in a minor car crash in New York City. Although nobody was physically injured, the incident caused Monk to suffer a mental breakdown, reception into custody for his own safety and an immediate admission as an inpatient at New York’s notorious Bellevue Psychiatric Hospital. He was resident for between two and three weeks before being discharged without a diagnosis.
The period in hospital sharpened his desire to work, earn some money and, crucially, to put together a sextet with three horns: “…the right amount of horns”, as he told Ira Gitler in mid-January 1957. First came a six-night engagement in Philadelphia, being driven back and forth from New York each night by his firm friend and supporter, Baroness Pannonica de Koenigswarter.
Monk spent the next couple of months with his wife and children. He countered his depression with hours of practice on the fine Steinway baby grand piano that he had rented at the end of 1956 and shoe-horned into his apartment. When he was not at home he was at the Algonquin Hotel on West 44th Street, where Pannonica had settled and held an open musical salon in her suite. It was during this period that Monk and Coltrane began to work closely together. Monk became the saxophonist’s mentor as Coltrane attempted to improve his musicianship while struggling to overcome his addiction to heroin. Surely at that stage, the two artists could not imagine the legacies that each would go on to leave for us?
Along the way, in mid-April, Monk recorded another of his key works, Thelonious Himself, largely a solo work but with Coltrane and bassist Wilbur Ware contributing to a version of Monk’s Mood. A couple of days later Coltrane was fired by Miles Davis, who exasperated by Coltrane’s playing in the midst of withdrawal, may also have slapped and punched his band member. Apparently, this was witnessed by Monk who tried, without success, to intercede before offering Coltrane a job.
Their live partnership could not begin immediately as Monk was still without an all-important New York Cabaret Card which prevented him from playing in NYC. His card had been cancelled following a drugs bust several years before but his manager was working hard to get him a new one.
Just before the Monk’s Music session, his wife was admitted to hospital for treatment of an acute thyroid condition and this caused Monk an overwhelming sense of distress. In keeping with the adage ‘every cloud…’, the silver lining that was his gift to posterity was the beautiful Crepuscule With Nellie, which we will get to in a while. This was the product of sleepless nights, countless revisions and Baroness Nica’s suggestion that Crepuscule (the late Middle English word for twilight) was a better and more evocative alternative to evening for the title.
The recording begins with a short yet exquisite arrangement of Abide With Me. The hymn, which has a particular resonance for anybody who has attended an FA Cup Final was written by Monk’s namesake, British organist, William Henry Monk and entitled Eventide. Indeed there is a possibility that Monk may have made a connection with his own Crepuscule. This gem is only 55 seconds long and leaves this listener wanting more but very pleased with what has been served up in a short span.
Next up, Well, You Needn’t, starts with a swing before Monk calls on John Coltrane who delivers and exceptional solo which must have sounded like something from the future when the recording was released. The take extends to just under eleven and a half minutes and all of the musicians have space to solo.
Amongst Monk’s finest ballads, the recording of Ruby, My Dear presents a beautiful dialogue between Monk’s piano and Coleman Hawkins’ mellifluous tenor. The Ruby in question was Ruby Richardson, a significant girlfriend from Monk’s teenage years, which is when he first wrote the tune.
Off Minor has a jagged beauty that is full of surprises and is played with what my lack of theoretical musicianship leads me to venture to describe as a staccato angularity. In his sleeve notes for the 2010 CD reissue, Ashley Kahn notes that Kelley states that the tune is in G minor but that it ‘…never resolves to the tonic.’ This probably explains why it leaves us expecting something extra. The version used on the original release was the 5th take and the CD provides the bonus of an alternative version, the 4th take, which features strong though slightly less fluent and ‘worked out’ tenor and trumpet solos from Coleman and Copeland. We are lucky to have both to listen to.
Epistrophy was written by Monk and drummer Kenny Clarke in the early 1940s and it was to remain as an often visited staple of Monk’s repertoire (with Ted Gioia recording in ‘The Jazz Standards’ that over 50 recordings of the tune by Monk are known to survive). On Monk’s Music the version is a seamless splice of two takes with solos from each of the musicians starting with a fluent opening statement from Coltrane, before working through Copeland, Gryce, Ware, Blakey, Hawkins and finally Monk. Hawkins’ solo draws on his tenor’s lower register and is particularly full-bodied and robust, before Monk plays briefly and then ushers in the ensemble with an insistent caterwaul.
The afore-mentioned Crepuscule with Nellie closes the original recording. Kelley explains that unique amongst his recordings, Monk always played this without improvisation or embellishment. It is rendered as though the distilled feelings that he was conveying were sacrosanct and deeply personal. You can listen courtesy of YouTube:-
To play: touch or click on the arrow
On the CD there is an extra alternate edited version, which amalgamated the best of the 4th and 5th takes and is a welcome addition. I would venture that it possibly wasn’t selected as the master take as Blakey’s brushwork sounds a little intrusive.
As mentioned, in the lead-up to the session Monk had several sleepless nights due to worries about the poor state of his wife’s health and his search for perfection in the composition of Crepuscule. On the first day Art Blakey was an hour late and then took a further hour to set up his drum kit. Although a couple of unused takes of Crepuscule were recorded, Monk was exhausted and went home to sleep, with nothing that was used in the can. With precious studio time remaining, the other musicians rapidly rehearsed and recorded an improvisation on a Count Basie influenced blues written on the spot by Gigi Gryce. Blues For Tomorrow was subsequently released on a compilation under Coleman Hawkins name. It is fascinating to compare Hawkins solo to Coltrane’s, which he follows on from. Once again, playing in the tenor’s lower register, it almost sounds (to these ears) as though Hawkins is playing a baritone sax and he really makes the piece his own.
Monk was back next day, rested and ready to go. It was his session and he pushed his sidemen to deliver exactly what he wanted. Gryce had been tasked with arranging the horn parts and there was a gap between what he had written and what Monk had asked for. Kelley memorably recounts Monk saying to Hawkins and Coltrane:- “You’re the great Coleman Hawkins, right? You’re the guy who invented the tenor saxophone, right?” Hawk agreed. Then Monk said to Trane, “You’re the great John Coltrane, right?” Trane blushed, and mumbled, “Aw…I’m not so great.” Then Monk said to both of them, “You both play saxophone, right?” They nodded. “Well, the music is on the horn. Between the two of you, you should be able to find it.”
Find it, they all did and the entire issued album was taped on 26 June 1957
With the session in the bag, the producer, Orrin Keepnews and label boss Bill Grauer felt that they had captured something special. Cover art was conceived but Monk hated what was proposed and was angry with the designer. The original idea was to feature a photograph of him wearing a monk’s robe, standing in a pulpit and holding a glass of whisky but Monk rejected it out of hand. He went to another part of the studio where he rested on the photographer’s trolley. The unposed image was a striking one and surprisingly Monk was happy to be photographed, adding his briefcase, music paper and a pencil and explaining that he had previously composed while sitting outside his home on his child’s wagon.
Monk got his cabaret card back in May 1957 and was booked into New York’s Five Spot venue from 4th July for what turned into a 6 month residency. He was able to honour his commitment to John Coltrane who joined him on the stage from Tuesday 16 July 1957. The classic album that is Monk’s Music was released in early 1958 and acclaimed as one of the year’s top five albums by Downbeat. I cannot recommend that you listen to it too highly. The session that produced Monk’s Music is exceptional so don’t miss the version supplemented by the additional tracks on CD.
Robin D.G. Kelley’s Thelonious Monk: The Life and Times of an American Original was first published by Free Press (New York) in 2009. I am grateful to have benefitted from Kelley’s scholarship and insights and commend it as an essential purchase and great read for those who are interested in Monk.
The band etc: Thelonious Monk (piano); Ray Copeland (trumpet); Gigi Gryce (alto sax); John Coltrane (tenor sax); Coleman Hawkins (tenor sax); Wilbur Ware (bass); Art Blakey (drums ). Recorded: June 26 1957 (Blues For Tomorrow 25.06.57). Produced: Orrin Keepnews. Studio: Reeves Sound, New York City. Released: 1958. Cover photo: Paul Weller. Sleeve notes: Orrin Keepnews. Riverside RLP 12 242. Additional sleeve notes on CD release: Ashley Kahn 2010.
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Are you one of the many fortunate readers who has reason to visit a barber or hairdresser? If you are and they are any good, take a moment to salute them. Maria at The Clipper keeps her scissors as sharp as how I think my hairstyle looks when I walk out through her salon door. Why start with this you may wonder? Well, the reason will become clear as you read on.
John Coltrane’s life was eventful though his star burned brightly and briefly, as he passed away at the age of 41. 1960 was a particularly busy and momentous year for him though. Giant Steps was released in late January and he spent March and April touring Europe with Miles Davis. During this tour he spent hours practising soprano saxophone (some accounts say that Miles Davis bought one for him in a Paris antique store although Coltrane also said that he has bought his own instrument earlier in the year after first starting to play on one that belonged to a fellow musician).
By May 1960 he had handed his notice in to Miles Davis and his own quartet opened a 9 week residence at the Jazz Gallery in New York’s Jazz Gallery (housed in a Greenwich Village building in which Leon Trotsky had briefly lived). On the first night, Thelonious Monk and a man dressed only in a loincloth and shouting ‘Coltrane, Coltrane!’ rushed towards the stage in salutation.
Amongst them was Coltrane Plays The Blues. It is often overlooked by people exploring Coltrane’s discography, perhaps because the title may make it appear to be a generic career-spanning compilation rather than as a discrete work, recorded at one particularly important time in Coltrane’s development as a leader.
Blues To Elvin is as straightforward a blues as they come, except that we are in the company of masters, with solos from Coltrane and McCoy Tyner.
Coltrane plays his soprano saxophone on Blues To Bechet, opting for a pianoless trio with Tyner sitting out. Coltrane had been working towards mastery of his soprano saxophone, a horn previously seldom heard in a modern jazz context since the late 1950s. During that period he had visited the Blue Note offices to obtain copies of Sidney Bechet recordings (you can read about this, how Blue Train came to be recorded and the strange tale of the Blue Note office cat here).
Blues To You harks back to Giant Steps with busy Coltrane solo in which he is running through the chord changes.
Delivered at a brisk tempo, Coltrane leads out on Mr Day over a piano theme tastefully played by Tyner.
The identities of the three men that Coltrane honoured in the titles of the songs on side 2 of the original vinyl release are obscured. Messrs Day and Knight may be self-explanatory (probably relating to different times of day, although if you know anything more, please let us know). Mr Syms, however, could only be linked to an actual individual and my quest to uncover who this was resulted in a long unfruitful and frustrating internet trawl. It was only when I managed to consult Porter’s excellent book that I discovered that the Mr Syms that Coltrane had in mind was his barber in Philadelphia (although Sims was also the middle name of drummer Pete La Roca). So that explains the dedication of this review to my hairdresser. The solos from Coltrane echo elements of Summertime, version of which was recorded on the same day, in the same session, and appeared on My Favorite Things.
The highlight of the set, for me, is Mr Knight, a brilliant composition on which Elvin Jones’ drumming is of particular note. It can be enjoyed on YouTube courtesy of monomotapa15
To listen touch or click on the arrow.
The CD reissue delivers five extra tracks with two alternative versions of both Blues For Elvin and Blues To You with a further number known as Untitled Original which sits in contrast to the rest of the album with its modal feel.
Coltrane Plays The Blues is a thoroughly enjoyable and satisfying recording which repays repeated listening and which deserves a place in any modern jazz collection. If you haven’t sought it out, you should. Of course, if you can prove to us that Mr Day and Mr Knight were people, rather than conceptual titles, please let us know without delay.
The band etc: John Coltrane (soprano saxophone, tenor saxophone); McCoy Tyner (piano); Elvin Jones (drums); Steve Davis (bass). Produced: Nesuhi Ertegun. Engineer: Tom Dowd. Recorded: Rudy Atlantic Studios, New York City. 24 October 1960. Cover Design: Marty Norman- Bob Slutzky Graphics. Released: 1962. Original release: Atlantic Records 1382.
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Reader, I have a confession. This started out as a review of Thelonious Monk Live At The It Club (in Los Angeles 1964) but ended up as a look at the Carnegie Hall Concert (November 1957), via a visit to The Five Spot in New York City (August 1958). There is an explanation. Firstly, although it is an excellent recording featuring a great performance by Monk, a review of The It Club set is a daunting prospect. The Colombia double CD runs to over 150 minutes and contains 19 separate compositions. I did think about writing about it over two or three posts but, somehow that didn’t seem satisfactory. Secondly, I came to realise the significance of a short period during an amazing year for two of the all time greats (if not the greatest). Thirdly, I wanted to write about the Carnegie Hall Concert, with its tale of the re-discovery of a lost treasure of incalculable value. So here we go.
At the end of November 1957, Monk was invited to play in two performances of a benefit concert at Carnegie Hall to raise funds for the Morningside Community Center in Harlem. The prospect of making a contribution to this local social action centre appealed to him because as a young person he had spent most of his free time at a youth centre across the road from his family home in Midtown New York. The rest of the bill was stellar and included Billie Holliday, Dizzy Gillespie, Chet Baker, Zoot Simms and Sonny Rollins. Ray Charles headlined with a jazz set. Two dollars, or $3.95 for the best seats and you were in.
In the four months before the concert, John Coltrane had been playing as part of Monk’s quartet at the Five Spot. This was the year in which Coltrane’s talents flowered. He had kicked heroin after being fired by Miles Davis in April 1957 and spent a great deal of time at Monk’s apartment, learning from the older master-musician. The superb and informative booklet which accompanies the CD release records Coltrane as saying:- “I’d go by his apartment and get him out of bed (laughs). He’d wake up and roll over to the piano and start playing… He would stop and show me some parts that were pretty difficult, and if I had a lot of trouble, well, he’d get his portfolio out and show me the music…sometimes, we’d get through just one tune a day. Maybe.”
In ’57 Monk also had much to celebrate. Brilliant Corners had been released and earlier work on Blue Note and Riverside was re-released on the new 12″ long playing LPs. He had regained his Cabaret Card in May 1957 and was once again able to play in New York clubs that served alcohol. In July, he obtained a residency at The Five Spot, a small bar on the edge of The Bowery and on Tuesday July 16, he was joined by John Coltrane. The original piano was inadequate and in very poor repair but with an eye to the crowds lining up outside every night the club owner rapidly agreed to allow Monk to source a Baldwin baby grand.
The night at Carnegie Hall gave Monk the opportunity to perform in public on one of renowned venue’s concert grands. Monk’s Mood features a pianist taking great delight in the tone of an excellent piano and the fine acoustics of the hall (although he also had access to two baby grand Steinway pianos: his own rented instrument and one owned by his friend Baroness Pannonica de Koenigswarter). John Coltrane also approaches this beautiful ballad, that he made great efforts to learn and interpret, with great sensitivity, while Shadow Wilson’s drumming is sparse and complements the two soloists.
Evidence is angular and almost jagged with Monk giving Coltrane the space to develop a solo that contains fast phrases reminiscent of his work on the recently recorded Blue Train.
Crepuscule With Nellie had been written in the early summer of 1957 at a time when Monk’s beloved wife was facing a major thyroid operation. Monk laboured long and hard to produce music which captured his feelings and sought perfection in a piece that he usually played without improvisation or embellishment (on this version there is a brief reference to the ’52nd Street Theme’ just after Coltrane starts to play). ‘Crepuscule’ sounds like some type of seafood but it actually means ‘twilight’ and it was suggested that Monk should consider using the French word by his friend the Baroness.
This is followed by a jaunty version of Nutty, which features some fine percussion and great fluency from Coltrane.
Epistrophy is complex with some fine cymbal work. The quartet is really tight and this is superlative musicianship.
I understand that the final four tracks were recorded during the second set of the evening.
Bye-Ya is another vehicle for John Coltrane to shine on, although there is a short solo from Monk before the band moves straight into Sweet And Lovely, the standard favoured and recorded regularly by Monk.
Blue Monk is taken at a brisk pace. This tune is a classic which has become a staple of the young jazz musician’s repertoire, which means that it is regularly put through the mangle. I recently heard a sax player in a local pub who should never play this again until he can aspire to get within a million miles of how Coltrane plays here (not playing flat would be a start). You can listen courtesy of Praguedive on Youtube by touching or clicking on the arrow below:-
Finally a second truncated reprise of Epistrophy from the second set closes the recording.
Although Thelonious Monk and John Coltrane worked together during an intense period of about six months, very little was recorded by the great quartet. There were three studio tracks and a further live recording made by Coltrane’s first wife on a portable tape machine. There was an awareness that the Carnegie Hall concerts had been recorded by Voice of America and Coltrane biographer Lewis Porter had made enquiries at the Library of Congress, which was believed to be where they had been consigned to, but the tapes were lost. Then, in February 2005, Larry Appelbaum, a recording lab supervisor, found several tapes labelled ‘Carnegie Hall Jazz 1957’ and one had a box with a note labelled T Monk. A treasure had been discovered and within six months this resulting album was released. It is available on vinyl- with the Mosaic recording being the one to seek out. However, I’m delighted with the CD which comes complete with a brilliant booklet. This is a recording that I recommend without reservation and which I hope you will enjoy. Happy listening.
The band etc: Thelonious Monk (piano); John Coltrane (tenor sax); Ahmed Abdul-Malik (bass); Shadow Wilson (drums). Recorded: 29 November 1957. Produced for release: T.S. Monk and Michael Cuscuna. Cover illustration: Felix Sockwell. Sleeve notes: Amiri Baraka; Ira Gitler; Ashley Kahn; Stanley Crouch; Robin D.G. Kelley; Lewis Porter and Larry Appelbaum. Released as Blue Note 35173 on September 27, 2005.
There’s only one place to start this post: with a plea of Guilty as charged. I thought I was familiar with all of the great albums by John Coltrane up to the time that I assumed that he forsook beautiful and comprehensible playing for the outer limits exemplified by the likes of Interstellar Space, an album that I struggle with.
I was wrong. To my ears, Crescent should be ranked amongst Coltrane’s finest releases. Many tag this as Coltrane’s darkest and most sombre set. I prefer to think of it as the product of an artist going through a contemplative and reflective period of composition and recording. Entirely overshadowed by his next release, A Love Supreme, Crescent should be better known and far more celebrated than is currently the case.
The opening number which gives the set its title starts out with Coltrane laying down his theme in ballad form. Then the rhythm section and piano come in and Coltrane starts an improvisation that is at first leisurely but which grows in complexity. McCoy Tyner’s subtle and melodic boundaries are matched by Garrison and Elvin Jones and Coltrane’s freer and more phonic playing is contained within a structure that keeps things entirely, in my opinion, intelligible. Take a listen courtesy of YouTube:-
To play, touch or click on the arrow.
Wise One is one of the great Coltrane ballads. It is reflective rather than joyous and none the worse for that- some would say it is spiritual. Again Tyner is superb. I’ve long been familiar with this performance as it features on the excellent Gentle Side of John Coltrane compilation, which I also wholeheartedly recommend.
Bessie’s Blues is a short hard bop excursion, which hits the spot in a straight-ahead 4/4 style.
Lonnie’s Lament offers sophisticated listening, perhaps best heard at the end of a day when the listener is open to reap the rich rewards of a track which is evocative of whatever deeper thoughts one wants to evoke but which does not strike me as a sad lament (perhaps You may perceive it as such though). Garrison gets a good opportunity to show his talent on a lengthy bass solo that he plucks from heart and soul.
Drum Thing doesn’t surprise as it contains a fine drum solo from the great Elvin Jones. Coltrane’s contribution sounds very Northern European and, to my way of hearing, would not be out of place on an ECM release (which, to clarify, I consider to be a very good thing, though in moderation).
There is a belief that at Coltrane may have written about his intentions and subject matter for some of these compositions and others, including Alabama, in prose or poetry but any evidence of this remains missing, perhaps lost for ever. The tunes themselves are strong enough, alone, to stand the tests of time.
So there we have it. Crescent is a brilliant album that you should not miss. Coltrane plays wonderfully on a set where his great quartet are at the height of their powers and all members receive time and space to solo impressively. I can’t recommend this set too highly.
The band etc: John Coltrane (tenor saxophone); McCoy Tyner (piano); Elvin Jones (drums); Jimmyy Garrison (bass). Produced: Bob Thiele. Recorded: Rudy Van Gelder Studios, Englewood Cliffs. 27 April & 1 June 1964. Cover Design: Freddie Paloma. Cover Photography: Charles Stewart. Released: 1964. Original release: Impulse AS-66.
Happy New Year to all visitors, new and old. Here’s my 100th post on downwithit.
I still have an unfinished task from 2014 which is to look back at all the classic sets that I reviewed here in 2014. By classic I mean anything other than a new release so there are one or two sets from the present millennium included here. A quick count indicates that I wrote about 26 of these albums in 2014, so I think I can conclude that I wasn’t idle, especially given that I also wrote about a number of contemporary sets and offered up some live reviews.
What follows may be a bit of a trudge through a list, but I have linked to all the reviews and if any catch your interest, please click and take a look.
On NYD 2014 I started with a bang by taking a look at John Coltrane’s Blue Train, one of my all-time favorites that I urged everyone to obtain and listen to if they hadn’t done so already.
This was followed up by Lee Morgan’s The Sidewinder and a track that inspired numerous imitations.
My January postings dipped into dinner jazz in the form of Grover Washington Jr’s All The King’s Horses and British hard bop from the 1980’s UK jazz revival via Tommy Chase and Groove Merchant.
Thoughts of Tommy Chase led downwithit.info into fresh territory and I decided to devote some time to exploring the current scene, which was something that I really enjoyed during the course of 2014. If you want a recap of the newly released albums that I reviewed last year, they can be found here and my trawl of live performances is referred to here. I’m not sure if my ramblings have encouraged the purchase of a single album or attendance at any gigs but if they have, please leave a comment and let me know.
I wrote five reviews in February 2014 opening with Horace Parlan’s piano trio set Movin’ And Groovin’. I followed this up with Johnny Griffin’s Big Soul Band. I wavered about posting on that one because I thought that it was something of a departure from the classic small band context and that it would not fit- but it seemed to be OK and remains a popular review according to my stats.
Fred Jackson’s great Hootin”N Tootin’ was next up. At the time, I checked Wikipedia which did not give a date of death. Hopefully Fred still is with us and is enjoying a peaceful retirement at the grand age of 85 years old. If anybody knows more, please tell us.
A further less well-known Blue Note set, John Jenkins With Kenny Burrell was placed in the spotlight, before I took a look at Thembi by my favourite living saxophonist, Pharoah Sanders.
March 2014 saw me take an overdue look at Yusef Lateef (more to come in 2015) and Jazz Mood, his first set as a leader from 1957. The Cats, a fine session featuring John Coltrane followed and I made my first visit to a Grant Green recording on these pages with Grant’s First Stand.
In April, I brought news a a real gem: Heavy Sounds by Elvin Jones and Richard Davis, another set to listen to even if you have to beg steal or borrow. A slow journey north up the motorway system led me to grapple with Bobby Hutcherson’s Happenings. The same trip north gave me time to take a look at The Hot Club Of San Francisco’s Veronica and I got hold of a copy of Jimmy Smith’s lacklustre a less then incredible Softly As A Summer Breeze.
In May Sonny Clark’s Sonny Clark Trio was followed by another Sonny in the form of Sonny Rollins On Impulse, which sounds like a compilation album but isn’t. Later in the month, my local second-hand record store yielded up a copy of John Coltrane’s Ole.
I took another look at Grant Green with his lesser known Iron City, featuring a strong version of Hi-Heeled Sneakers, before returning to Blue Note and Harold Vick’s Steppin’ Out and later in September with Joe Henderson and Inner Urge.
I took the view that Archie Shepp and Dollar Brand’s Duet was slightly spoiled by Shepp’s poor sax technique on a couple of tracks, but I enjoyed Hank Mobley’s great Roll Call, Grant Green’s Green Street and Freddie Hubbard’s Ready For Freddie.
2014 was the year in which a bit of research yielded some more answers about Freddie Roach’s later years and I shelled out for a first pressing of All That’s Good which turned out to be much better than a shocking review suggested it would be.
I’ve already got a the first few reviews for 2015 in mind, so please come back soon and see what I’ve been listening to and remember that comments are most welcome.
One New Year’s Resolution– the quality of the photography at downwithit must improve. No excuses!
Back in April I got my tickets for a key performance in James Lavelle’s Meltdown season on the. South Bank. Lavelle contributed to Straight No Chaser Magazine, an adventurous magazine published in the early 1990’s, which I used to get every so often- especially as it featured some exceptionally good musical tips and was closely linked to the, then current, jazz revival. He invited Editor, Paul Bradshaw to curate a performance and the result is Enlightenment, a ‘Re-envisioning of John Coltrane’s A Love Supreme.
Coltrane wrote A Love Supreme in August 1964 at a time of turmoil and great change in the USA. Living in a tranquil new suburban home in Long Island and following the birth of his first son through his relationship with his second wife, Alice, he took himself off into his studio and worked solidly for several days. His wife, famously, described his return as follows:-
“It was like Moses coming down from the mountain, it was so beautiful. He walked down and there was that joy, there was peace in his face, tranquility. So I said, ‘Tell me everything, we didn’t really see you for four or five days.’ He said, ‘This is the first time that I have received all the music for what I wanted to record, in a suite. This is the first time I have everything, everything ready.”
50 years later, for this London performance Rowland Sutherland has added to the original score and extended beyond the original quartet setting with and arrangement for a fifteen piece band which brought together British, Indian and African musicians.
So how did it all work out?
The first half of the concert comprised of three pieces. Byron Wallen came on stage with a Tibetan horn, which turned out to be a telescopic instrument which extended about three metres. I’d never seen or heard one before. He swung this around and made great use of several of the onstage microphones before reverting to trumpet, which he payed in dialogue with Neil Charles on double bass.
This was followed by a trio featuring harp, flute and Japanese flutes and a tribute to Sun Ra which, to my ears, captured the mixed strengths and weaknesses of a very strange individual, who would have been 100 years old this month, had he lived that long. I saw him once and enjoyed but I’m really not keen on his Space Is The Place Blue Thumb/Impulse set.
Whether presenting some key influences or showing the appreciation of diversity that helped to make Straight No Chaser such a good read, the scene was set.
Paul Bradshaw’s introduction to the re-envisioning of A Love Supreme offered a few clues about what followed. He spoke of the original piece and the treatments and embellishments that Alice Coltrane had made following John Coltrane’s untimely death in 1966. Perhaps most tellingly he referred to Coltrane’s sole live performance of the suite, at The Antibes Jazz Festival (a recording I’m not familiar with).
The introduction, on Indian harp was in the style of the Alice Coltrane version from 1971, which I first encountered on the Stolen Moments Red Hot + Cool 1994 release. Although it took me a while to appreciate it, I eventually came to quite like it, with its spiritual invocations from the guru, Satchidananda.
John Coltrane had a close working relationship with Eric Dolphy, who died in June 1964. Had he lived, there is a strong probability that he would have played on A Love Supreme and that’s perhaps why this version included ample bass clarinet contributions from Shabaka Hutchings. It was great to see Steve Williamson again but although he played some blistering tenor saxophone, he seemed remarkably underused, especially given that the original composition was conceived by a saxophonist.
The vocals and spiritual invocations were in keeping with Coltrane’s concept,and Coltrane’s whole meditation, printed on the original album sleeve was spoken in full by vocalist Cleeveland Watkiss. I can’t reasonably complain about them but I really missed the iconic double bass introduction and the whole feel of Acknowledgement from the original album. I’ll look forward to hearing the recording on Jazz On Three- it was optimistically stated that it would be presented the following night- but after I’d reported that on Twitter I was told by R3 that it will be broadcast in the New Year. I’ll be in the market for a CD too, if one gets released.
The arrangement was enthralling without being totally satisfying and rates as a 7/10 performance for my money.
Ole is an album that I’ve flicked past when browsing in record stores and overlooked on numerous occasions. I hadn’t taken the trouble to work out where it fitted into John Coltrane’s body of work and somehow the track listing, without any numbers that are commonly listed amongst his essential recordings conspired to relegate this to also-ran status in The Record Collector’s Buying Stakes.
Ole was recorded at the end of John Coltrane’s association with Atlantic Records, at the time when ABC had bought out his contract with the label. The visit to the recording studio was sandwiched between the two sessions of Africa/Brass that were to be released as his debut on the Impulse imprint. Was the album just a half-hearted effort designed to complete and wind up contractural obligations? The music contained within very rapidly demonstrates that Ole was much more than that.
The title track is a modal piece that listeners liken to the ambience that Miles Davis created on Sketches of Spain a year earlier. Everybody, with the exception of drummer Elvin Jones, who is like a solid granite foundation gets to take a solo and plays wonderfully. However, special mention must be made of the dual bass players who are remarkable in their interplay across the entire range of their instruments. Towards the end Coltrane returns, playing his soprano sax with great power and zest, almost at times as though he is trying to test it to the point of destruction.
Dahomey Dance is a lively strolling, striding sort of track, a real pleasure that takes us along with it at a steady pace.
Aisha is a delicate ballad, brought to you here courtesy of Jazz Hole on YouTube.
To play, touch or click on the arrow.
Freddie Hubbard’s solo is a particular delight and McCoy Tyner’s work at the piano is also very pleasing to these auld ears of mine too. Arguably, Coltrane’s sax could be played with a slightly lighter touch and it’s stridency leaves us with a piece that could have been one of the great late night, rainy afternoon Coltrane ballads, but which falls slightly short. Dolphy’s alto sax solo is well-crafted but I’ve personally yet to appreciate him fully.
The LP ends at this point but the CD has an extra track from the session, entitled To Her Ladyship. It sits perfectly alongside its companions and is a great bonus.
My own CD copy came my way from the bargain corner of my local second-hand record store and was a snip at four of those English pounds. Although it is not essential it is a really great listen which should not be ignored. I’m very pleased that I now own it.
It is Friday night (after a hard draining week at the grindstone in the mill). Another post duly posted. Another long train journey nearing its destination. The weekend starts here, Jazz Cats!
The band etc: John Coltrane (tenor and soprano saxophones); Eric Dolphy (flute and alto saxophone); Freddie Hubbard (trumpet); McCoy Tyner (piano); Reggie Workman (bass); Art Davis (bass); Elvin Jones (drums). Recorded: 25 May 1961. A&R Studio, New York City. Produced: Neshui Ertegun. Recording Engineer: Phil Ramone. Sleeve Notes: Ralph J Gleason. Cover design: Jagel & Slutzky Graphics. Issued as Atlantic SD 1373 in 1962.
“The cats? Which cats?”
“John Coltrane, Kenny Burrell, Tommy Flanagan, Idrees Sulieman, Louis Hayes and Doug Watkins.”
“Oh, those cats. Any good?”
This is another of the recordings that was on my list to write about when I was initially planning downwithit
This set recorded in April 1957 brings together John Coltrane, Kenny Burrell and Tommy Flanagan. Essentially, this was Flanagan’s session and four of the five compositions were written by the pianist. The resulting release is an engaging listen, without breaking through into new territories.
Minor Mishap opens matters. Whilst it sounds conventional and straightforward it survives as an opportunity to hear John Coltrane and Kenny Burrell playing together. It is a foot-tapper that you can hear on the following YouTube clip:
Next up, How Long Has This been Going On is a delightful piano centred version of the George and Ira Gershwin ballad (with sax, trumpet and guitar sitting out). Flanagan shows a real delicacy of touch and the accompaniment from drums and bass has a suitably light feel to it.
Eclypso combines a 5/4 introduction, followed by a longer 4/4 main section. Idrees Sulieman sounds somewhat brash and abrasive and his trumpet style throughout the album is not one that I particularly like. However, matters are redeemed by some sunny sounding guitar from Kenny Burrell, which brought a smile to my 92 year old aunt’s face, although she said that she does not think she will ever match KB’s playing, due to a wrist injury. She joked that maybe she would have to settle for the trumpet. There’s not too much to say about Solacium, other than it allows space for the playing of Coltrane and Burrell, while Tommy’s Time gives Flanagan nearly 12 minutes to show off his talents and include a good bass solo from Doug Watkins.
Four of the band are from. Detroit and provide evidence of a strong cohort of musicians who travelled from Motown to New York City to ply their trade. There’s more from Watkins and Hayes to be heard on fellow Detroit man Yusef Lateef’s Jazz Mood, an account of which follows below.
Tommy Flanagan spent 20 years as Ella Fitzgerald’s Musical Director, a testament to the silky elegance of his piano playing. He also contributed to two of the all time greatest sessions led by saxophonists, Sonny Rollins Saxophone Colossus and John Coltrane’s Giant Steps. The genius of of those ground breakers is not matched by The Cats, but it is an enjoyable session nonetheless. The New York Times obituary of Tommy Flanagan is to be found here.
The band etc: Tommy Flanagan (piano); John Coltrane (tenor saxophone); Idrees Sulieman (trumpet); Kenny Burrell (guitar); Louis Hayes (drums); Dough Watkins (bass). Recorded: 18 April 1957. Rudy Van Gelder Studio, Hackensack, New Jersey. Produced: Bob Weinstock. Recording Engineer: Rudy Van Gelder. Cover photos & design: Don Schlitten. Cover notes: Ira Gitler. Issued as Prestige 8217. Released 1959.