Ray Draper - Ray Draper Quintet Featuring John Coltrane (1957)

Ray Draper - Ray Draper  Quintet Featuring John Coltrane (1957)

jazz | 1cd | eac-flac-cue-log-cover | 280MB

OJC

Allmusic:
Ray Draper was only 17 when he led this date (all four of his sessions as a leader were made before he turned 20) and was brave (or foolhardy) enough to team up with tenor saxophonist John Coltrane (who was 14 years older and already a major name) in a quintet also including pianist Gil Coggins, bassist Spanky DeBrest, and drummer Larry Ritchie. Draper had ambitious dreams of making the tuba a major jazz solo instrument; the tuba/tenor front line is an unusual and generally successful sound, although Draper's solos on this reissue -- on three of his originals: Sonny Rollins' "Paul's Pal," the show tune "Under Paris Skies," and a tuba feature without Coltrane, "I Hadn't Anyone Till You" -- are clearly not on the same level as those of Coltrane or Coggin. One does admire Draper's courage, and it is a pity that he hardly recorded at all after 1960 because he had strong potential.

 Tracks
-1. "Clifford's Kappa" - 9:16
-2. "Filidia" - 7:16
-3. "Two Sons" - 5:24
-4. "Paul's Pal" - 7:14
-5. "Under Paris Skies" - 7:47
-6. "I Hadn't Anyone till You" - 3:05  

Personnel
* Ray Draper (tuba)
* John Coltrane (tenor saxophone)
* Gil Coggins (piano)
* Larry Ritchie (drums)

 sample & buy: Ray Draper Q. Feat. John Coltrane

 

John Coltrane - One Down, One Up: Live At The Half Note (1965)

John Coltrane - One Down, One Up: Live At The Half Note (1965)

jazz | 2cd | eac-flac-cue-log-cover | 645MB

Impulse!

Allmusic:
2005 was a watershed year for unreleased music by John Coltrane. First there was the unbelievable Thelonious Monk with John Coltrane Live at Carnegie Hall. Now Impulse offers this double CD of radio broadcasts in One Down, One Up: Live at the Half Note. It was recorded in March and May of 1965 by DJ Alan Grant for radio broadcast; while recording for broadcast, many hosts would usually just drop in on a session and tape the band for under an hour and take no note of catching a performance from the beginning. That rule applies here. The first disc was recorded on March 26. Grant's introduction begins during Jimmy Garrison's solo. The band had already been playing the title cut for 35 minutes. Coltrane steps in a couple of minutes in and blows hard for nearly 28 minutes. Trane had already released A Love Supreme and was seeking to expand the harmonic reaches of his sound, exploring every avenue available to him. The band astonishes too. Here McCoy Tyner, Garrison, and Elvin Jones push the limit, swinging hard and fast (Jones' playing is especially outrageous). Tyner's big block chords play toward ascending Coltrane's scales, not trying to keep up but expanding the chromatic palette with a fury. He drops out around the ten-minute mark and it's Trane and Jones forcing each other into unknown corners before breaking out of them into new dimensions. Garrison's attack is not content to try to keep it grounded but provide enough of an anchor for the intervallic exploration to be limitless. Garrison drops out as well and it's a duet near the end of the track, Jones matching Coltrane measure for measure with a breathless intensity before Tyner and Garrison reenter to take it out with the modal head coming back in a completely different form. What's remarkable is that Trane avoided his sheets-of-sound approach entirely here. His solo is focused and the restraint is harmonic, but it results in a performance of expansive force and muscular taste. And it nearly is. Despite a few near washouts in the sound, Trane's capability to continue to build a solo is simply astonishing. After a minute of announcements, the band kicks into "Afro Blue." This cut, a mere 12 minutes, is a tour de force for the band (Tyner's solo in particular).
Disc two, from May 7, thankfully, begins at the beginning, so to speak. The band is introduced before they start paying "Songs of Praise," an abstract workout more dissonant than the earlier show. But here again, the band locks into Coltrane's solo from the jump. Here it's Tyner shining a light from the stand. His ascending and descending chords offer large foundations for Trane to lift off from. Jones' accents after nearly every phrase propel Garrison and Coltrane to step out and move their own scalar investigations to more complex territory. The final track, "My Favorite Things," is nearly 23 minutes here. Coltrane uniquely uses the tenor to introduce the tune before switching to the soprano. Tyner uses a skeletal frame on the theme and it goes off almost immediately with Coltrane soloing all around the melody. He returns often enough for the tune to keep its body, but his Eastern modal progressions go far afield. Tyner's solo is a flurry of assonance and dissonance with his right hand. Unfortunately, just as another mode asserts itself, Grant fades the band out, just as they hit the stratosphere. Unfortunate, yes, but it takes nothing away from the absolute necessity of this set for Coltrane fans. The sound is wonderful -- except in the dropout patches that last no more than a second or two. This is a release of historic importance and one that, now that it's off the bootleg market, will be talked about by jazz fans and Coltrane aficionados for the foreseeable future.

Tracks
Disc 1
-1. "Introduction and Announcements" – 1:36
-2. "One Down, One Up" – 27:39
-3. "Announcement" – 0:51
-4. "Afro-Blue" – 12:44
Disc 2
-1. "Introduction and Announcements" – 0:43
-2. "Song of Praise" – 19:38
-3. "Announcements" – 0:43
-4. "My Favorite Things" – 22:37

Personnel
* John Coltrane – tenor saxophone/soprano saxophone
* Jimmy Garrison – double bass
* Elvin Jones – drums
* McCoy Tyner – piano

sample & buy: One Down One Up: Live at the Half Note

John Coltrane - Coltrane (1957)

John Coltrane - Coltrane (1957)
jazz | 1cd | eac-flac-cue-log-cover | 250MB

OJC

Allmusic:
On his first session as a bandleader, tenor saxophonist John Coltrane is joined by Johnny Splawn on trumpet, Sahib Shihab on baritone sax, and a rhythm section of bassist Paul Chambers and drummer Albert "Tootie" Heath with piano duties split between Mal Waldron and Red Garland. Right out of the gate, the propulsive syncopated beat that drives through the heart of Coltrane's fellow Philly denizen Calvin Massey's "Bakai" indicates that Coltrane and company are playing for keeps. Shihab's emphatic and repetitive drone provides a manic urgency that fuels the participants as they weave in and out of the trance-like chorus. Coltrane grabs hold with bright and aggressive lines, turning the minor-chord progressions around into a spirited and soulful outing. While the refined and elegant "Violets for Your Furs" as well as the slinky and surreptitious "While My Lady Sleeps" are undeniably ballads, they aren't redundant. Rather, each complements the other with somewhat alternate approaches. "Violets for Your Furs" develops the role of the more traditional pop standard, whereas the somnolence is disrupted by the tension and release coursing just below the surface of "While My Lady Sleeps." The Coltrane-supplied "Straight Street" is replete with the angular progressions that would become his stock-in-trade. In fact, the short clusters of notes that Coltrane unleashes are unmistakable beacons pointing toward his singular harmonics and impeccably timed phrasing on 1960's Giant Steps and beyond. The closer, "Chronic Blues," demonstrates Coltrane's increasing capacity for writing and arranging for an ensemble. The thick unified sound of Coltrane, Splawn, and Shihab presents a formidable presence as they blow the minor-chord blues chorus together before dissolving into respective solos. The trio's divergent styles prominently rise, pitting Shihab's down-and-dirty growl against Coltrane's comparatively sweet tones and Splawn's vacillating cool and fiery fingering. Regardless of the listener's expertise, Coltrane is as enjoyable as it is thoroughly accessible.

Tracks
-1. "Bakai" - Calvin Massey - 8:41
-2. "Violets for Your Furs" - Tom Adair, Matt Dennis - 6:15
-3. "Time Was" - Gabriel Luna de la Fuente, Paz Miguel Prado, Keith Russell - 7:27
-4. "Straight Street" - John Coltrane - 6:17
-5. "While My Lady Sleeps" - Gus Kahn, Bronislau Kaper - 4:41
-6. "Chronic Blues" - John Coltrane - 8:12

Personnel
* John Coltrane — tenor saxophone
* Johnny Splawn — trumpet on "Bakai," "Straight Street," "While My Lady Sleeps," "Chronic Blues"
* Sahib Shihab — baritone saxophone on "Bakai," "Straight Street," "Chronic Blues"
* Mal Waldron — piano on side one
* Red Garland — piano on side two
* Paul Chambers — bass
* Albert "Tootie" Heath — drums

sample & buy: Coltrane

Miles Davis & John Coltrane - Live in New York (1958-59) (eac-log-cover)

Miles Davis & John Coltrane - Live in New York (1958-59)

jazz | 1cd | eac-flac-cue-log-cover | 250MB

Jazzdoor | JD1242

Amazon:
I'm please to announce that this one is actually good, at least the perfomance. Must be around the time of "Kind of Blue" and "Round Midnight" - sparce album notes - the gang from those albums is intact here. Miles has the modal, lyrical Bill Evans on piano. And a mellow Coltrane really listens here to what others are playing. And the great Miles himself, slightly sad and melancholy and tuneful with that Harmon mute. They still seem to LOVE the music.
A tuneful version of "Bye Bye Blackbird", not sped up. Miles quotes from "Maria" from Westside Story. "It Never entered my Mind" - Miles invests himself emotionally in the playing. "So What!" played in the better walking tempo.
The only problem, of course, is the recording, which is flat and two dimensional. CD was cut from an LP, not a master tape! Sounds like a cheap tape recorder or a cheap mike. But I've heard much worse recordings of Davis.
But don't let that keep you away from what is otherwise great songs and great performances.

Tracks
-1. "Bye Bye Blackbird" - Dixon, Henderson - 6:48
-2. "Four" - Davis - 4:49
-3. "It Never Entered My Mind" - Hart, Rodgers - 3:48
-4. "Walkin'" - Carpenter - 6:28
-5. "Milestones" - Davis - 9:23
-6. "So What" - Davis - 8:50
Track #3: Cafe Bohemia, NYC, July 13, 1957
Tracks #1, 2, 4, 5: Cafe Bohemia, NYC, May 17, 1958
Track #6: The Robert Herridge Theatre, CBS-TV, April 2, 1959

Personnel
on track #3: Miles Davis: trumpet; Red Garland: piano; Paul Chambers: bass; Art Taylor: drums.
on track #1, 2, 4, 5: Miles Davis: trumpet; John Coltrane: tenor saxophone; Bill Evans: piano; Paul Chambers: bass; Philly Joe Jones: drums.
on track #6: Miles Davis: trumpet; John Coltrane: tenor saxophone; Wynton Kelly: piano; Paul Chambers: bass; Jimmy Cobb: drums.

sample & buy: Live in New York

John Coltrane - Live At Birdland (1963) (20-bit SBM) (eac-log-cover)

John Coltrane - Live At Birdland (1963)

jazz | 1cd | eac-flac-cue-log-cover | 320MB

Impulse!/GRP | 20-bit SBM

Allmusic:
Arguably John Coltrane's finest all-around album, this recording has brilliant versions of "Afro Blue" and "I Want to Talk About You"; the second half of the latter features Coltrane on unaccompanied tenor tearing into the piece but never losing sight of the fact that it is a beautiful ballad. The remainder of this album ("Alabama," "The Promise," and "Your Lady") is almost at the same high level.

Tracks
-1. "Afro Blue" – 10:50
-2. "I Want to Talk About You" – 8:11
-3. "The Promise" – 8:10
-4. "Alabama" – 5:09
-5. "Your Lady" – 6:39
-6. "Vilia" – 4:38
* Tracks 1–3 recorded October 8, 1963 at Birdland, New York City, NY
* Tracks 4–5 recorded November 18, 1963 at Van Gelder Studio, Englewood Cliffs, NJ
* Track 6 recorded March 6, 1963 at Van Gelder Studio
* "Vilia" is the main melodic statement to the Franz Lehár piece "Vivias" set to a swing feel and chord changes.

Personnel
* John Coltrane — tenor saxophone/soprano saxophone
* Jimmy Garrison — bass
* Elvin Jones — drums
* McCoy Tyner — piano

sample & buy: Live at Birdland

John Coltrane & Don Cherry - The Avant-Garde (1960) (eac-log-cover)

John Coltrane & Don Cherry - The Avant-Garde (1960)

jazz | 1cd | eac-flac-cue-log-cover | 220MB

Atlantic

Allmusic:
This album is rightfully co-credited to Don Cherry (trumpet), who ably trades blows with John Coltrane (tenor/soprano sax) throughout. The Avant-Garde also boasts the debut studio recording of Coltrane playing soprano sax -- on "The Blessing" -- in addition to his continuing advancements on tenor. Although these tracks were recorded during the summer of 1960, they remained shelved for nearly six years. Joining Coltrane and Cherry are essentially the rest of the members of the Ornette Coleman Quartet, Ed Blackwell (drums) and Charlie Haden (bass) on "Cherryco" and "The Blessing," as well as Percy Heath (bass) on the remaining three selections. This is fitting, as over half of the album consists of early Coleman compositions. Coltrane's integration into this band works with some extraordinarily fresh results. Neither Cherry nor Coltrane makes any radical departures on this album; however, it's the ability of each to complement the other both in terms of modal style and -- perhaps more importantly -- texture that lends heavily to the success of these sides. Cherry's brisk and somewhat nasal intonations on "The Blessing" mimic those of Miles Davis, albeit with shorter flourishes and heavily improvised lines. When combined with Coltrane's well-placed -- if not somewhat reserved -- solos, the mutual value of both is dramatically increased. Blackwell -- the only other musician besides Cherry and Coltrane to be featured on every track -- provides some non-conventional percussive accompaniment. His contributions to "The Blessing" and workout on the aptly titled "Focus on Sanity" are primal.

Tracks:
-1. "Cherryco" (Don Cherry) — 6:47
-2. "Focus On Sanity" (Ornette Coleman) — 12:15
-3. "The Blessing" (Coleman) — 7:53
-4. "The Invisible" (Coleman) — 4:15
-5. "Bemsha Swing" (Thelonious Monk) — 5:05

Personnel:
* John Coltrane — tenor saxophone/soprano saxophone
* Don Cherry — cornet
* Charlie Haden — bass (tracks 1,3)
* Percy Heath — bass (tracks 2,4,5)
* Ed Blackwell — drums
Recorded June 28 and July 8, 1960 in New York City.

sample & buy: Avant-Garde

Wilbur Harden, John Coltrane - Mainstream (1958) (eac-log-cover)

Wilbur Harden, John Coltrane - Mainstream (1958)
jazz | 1cd | eac-flac-cue-log-cover | 205MB

Savoy | Denon digital remastering,  limited edition

dustygroove.com:
An incredible chapter of John Coltrane's early career – one of a pair of albums he cut with trumpeter Wilbur Harden for Savoy records! The title's a bit misleading, as the sound here really isn't "mainstream" at all – but more in the longer modal mode that would emerge more strongly in Coltrane's later recordings. The album is really significant – in that it almost marks the first time that Trane got to express his voice freely, and work through a more visionary sound – but big credit also goes to Wilbur Harden, who wrote all the longer tracks on the set, and who is coming at the record from kind of a Yusef Lateef exotic perspective. Other players include Tommy Flanagan and Lateef-bandmates Doug Watkins on bass and Louis Hayes on drums – and titles include "West 42nd Street", "EFFPH", "Snuffy", and "Rhodomagnetics

Tracks:
-1. "Wells Fargo" — 7:19
-2. "West 42nd Street" — 7:49
-3. "E.F.F.P.H" — 5:24
-4. "Snuffy" — 9:35
-5. "Rhodomagnetics I" — 7:08

Personnel:
* John Coltrane — tenor saxophone
* Wilbur Harden — trumpet/flugelhorn
* Tommy Flanagan — piano
* Doug Watkins — bass
* Louis Hayes — drums
Recorded March 13 1958 in Hackensack, NJ.

sample & buy: Mainstream 1958

John Coltrane (Cecil Taylor) - Coltrane Time (1958) (eac-log-cover)

John Coltrane (Cecil Taylor) - Coltrane Time (1958)

jazz | 1cd | eac-flac-cue-log-cover | 205MB

Blue Note

AMG:
This is a most unusual CD due to the inclusion of Cecil Taylor on piano. Although Taylor and John Coltrane got along well, trumpeter Kenny Dorham (who is also on this quintet date) hated the avant-garde pianist's playing and was clearly bothered by Taylor's dissonant comping behind his solos. With bassist Chuck Israels and drummer Louis Hayes doing their best to ignore the discord, the group manages to perform two blues and two standards with Dorham playing strictly bop, Taylor coming up with fairly free abstractions and Coltrane sounding somewhere in between. The results are unintentionally fascinating.
Wikipedia:
Stereo Drive is a 1958 album by jazz musician Cecil Taylor featuring John Coltrane. The same session was released later as Hard Driving Jazz and Coltrane Time. It is the only known recording featuring both Coltrane and Taylor. The album has subsequently been rereleased under Coltrane's name many times, including on Blue Note Records.
Taylor has described how the record company determined the choice of musicians on the session: "I said 'Coltrane okay, but I want to use all the musicians that I want.' I wanted to use Ted Curson, who's a much more contemporary trumpet player than the trumpet player I ended up with, Kenny Dorham."

Tracks:
-1. "Shifting Down" — 10:37
-2. "Just Friends" — 6:13
-3. "Like Someone in Love" — 8:07
-4. "Double Clutching" — 8:18

Personnel:
* John Coltrane — tenor saxophone
* Kenny Dorham — trumpet
* Cecil Taylor — piano
* Chuck Israels — bass
* Louis Hayes — drums
Recorded October 13, 1958 in New York City.

sample & buy: Coltrane Time

rc

John Coltrane - Interstellar Space (1967) (2000rem) (eac-log-cover)

John Coltrane - Interstellar Space (1967)

jazz | 1cd | eac-flac-cue-log-cover | 415MB

Impulse! | 2000 remaster

AMG:
Not released for the first time until 1974 but now available in expanded form as a CD, this set of duets by tenor saxophonist John Coltrane and drummer Rashied Ali are full of fire, emotion and constant abstract invention. The original four pieces ("Mars," "Venus," "Jupiter" and "Saturn") are joined by "Leo" and "Jupiter Variation." Coltrane alternates quiet moments with sections of great intensity, showing off his phenominal technique and ability to improvise without the need for chordal instruments. Rousing if somewhat inaccessible music.

Tracks:
1. "Mars" – 10:41
2. "Venus" – 8:28
3. "Jupiter" – 5:22
4. "Saturn" – 11:33
2000 Compact Disc bonus tracks
5. "Leo" – 10:53
6. "Jupiter variation" – 6:44
The 2000 CD reissue also includes a brief rehearsal fragment as well as two false starts of "Jupiter Variation" and studio chatter between Coltrane and Ali. These outtakes are hidden in the pre-gap before "Mars".

Personnel:
* John Coltrane – tenor saxophone, bells
* Rashied Ali – drums

sample & buy

rc

John Coltrane - Sun Ship (1965) (20-bit SBM) (eac-log-cover)

John Coltrane - Sun Ship (1965)

jazz | 1cd | eac-flac-cue-log-cover | 310MB

Impulse | 20-bit SBM | rar +5% recovery

AMG:
Other than First Meditations, which was not released at the time, Sun Ship (reissued on CD by Impulse) was the final studio album by John Coltrane's classic quartet (with pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) before Pharoah Sanders joined the band on second tenor. At this point in time, Coltrane was using very short repetitive themes as jumping-off points for explosive improvisations, often centered around one chord and a very specific spiritual mood. Tyner sounds a bit conservative in comparison, but Jones keeps up with Trane's fire (especially on "Amen"). Even in the most intense sections (and much of this music is atonal), there is a logic and thoughtfulness about Coltrane's playing.

Tracks:
-1. "Sun Ship" – 6:12
-2. "Dearly Beloved" – 6:27
-3. "Amen" – 8:16
-4. "Attaining" – 11:26
-5. "Ascent" – 10:10

Personnel:
John Coltrane - Tenor saxophone
McCoy Tyner - Piano
Jimmy Garrison - Bass
Elvin Jones - Drums

sample & buy

rc

John Coltrane & Frank Wess - Wheelin' & Dealin' (1957) (eac-log-cover)

John Coltrane & Frank Wess - Wheelin' & Dealin' (1957)

jazz | 1cd | eac-flac-cue-log-cover | 460MB

OJC | rar +5% recovery

AMG:
This two-fer from the excellent Prestige series of two-LP sets features Coltrane at a pair of jam-session-type settings in 1957. He is heard along with fellow tenor Paul Quinichette and Frank Wess on flute and tenor on two long versions apiece of "Wheelin'" and "Dealin" in addition to a fine rendition of "Things Ain't What They Used to Be" and a 15-minute version of "Robbins' Nest." In addition, there are two numbers from a sextet session with trumpeter Bill Hardman and altoist Jackie McLean. Overall the music is not all that essential (since there are so many other Coltrane recordings available) but is quite enjoyable on its own terms and worth picking up.

Tracks:
1. Things Ain't What They Used To Be 8:24
2. Wheelin' (Take 2) 11:20
3. Wheelin' (Take 1) 10:23
4. Robbins Nest 15:31
5. Dealin' (Take 2) 10:13
6. Dealin' (Take 1) 9:59

Personnel:
John Coltrane, tenor sax
Frank Wess, tenor sax, flute
Paul Quinichette, tenor sax
Mal Waldron, piano
Doug Watkins, bass
Art Taylor, drums

sample & buy

rc

John Coltrane - The Believer (1958) (eac-flac-cover)

John Coltrane - The Believer (1958)

jazz | 1cd | eac-flac-cue-log-cover | 290MB

OJC | rar +5% recovery

AMG:
On the first three tracks, the masterful tenor saxophonist is joined by pianist Red Garland, bassist Paul Chambers, drummer Louis Hayes, and either Donald Byrd or a young Freddie Hubbard on trumpet. An interesting aspect to the set is that it is the first example of Coltrane being associated with pianist McCoy Tyner. Tyner is not on the date, but he contributed "The Believer," which Coltrane performs along with Calvin Massey's "Nakatini Serenade" and the Rodgers & Hammerstein ballad "Do I Love You Because You're Beautiful?" [Reissued as an individual compact disc through the OJC imprint, The Believer is also available on CD as part of John Coltrane's huge Prestige box set, Fearless Leader. However, the original LP as included in the box set only contains half an hour of music, and is here supplemented by two bonus tracks of over seven minutes each, "Filidia" and "Paul's Pal," performed by the Ray Draper Quartet featuring Coltrane and originally included on an album released by the New Jazz label.]

Tracks:
1. "The Believer" — 13:51
2. "Nakatini Serenade" — 11:05
3. "Do I Love You Because You're Beautiful?" — 5:14
4. "Filidia" — 14:00 (bonus track)
5. "Paul's Pal" — 6:01 (bonus track)

Personnel:
* John Coltrane — tenor saxophone
* Donald Byrd — trumpet (tracks 1-2)
* Freddie Hubbard — trumpet (track 3)
* Ray Draper — tuba (track 4-5)
* Red Garland — piano (tracks 1-3)
* Gil Coggins — piano (tracks 4-5)
* Paul Chambers — bass (tracks 1-3)
* Spanky DeBrest — bass (tracks 4-5)
* Louis Hayes — drums (track 1-2)
* Art Taylor — drums (track 3)
* Larry Richie — drums (tracks 4-5)

sample & buy

read  the comments

John Coltrane - Olé Coltrane (1961) (japanese 24bit rem) (eac-flac-cover)

John Coltrane - Olé Coltrane (1961) (japanese 24bit remaster)

jazz | 1cd | eac-flac-cue-log-cover | 335MB

Atlantic/Wea | rar +5% recovery

AMG:
The complicated rhythm patterns and diverse sonic textures on Olé are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- over and beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced -- two days prior to this session -- on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner -- the song's author -- and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. The CD reissue also includes an extra track cut during the Olé sessions. "To Her Ladyship" is likewise on the seven-volume Heavyweight Champion: The Complete Atlantic Recordings box set.

Tracks:
1. "Olé" (18:15)
2. "Dahomey Dance" (10:52)
3. "Aisha" (7:39)
4. "To Her Ladyship" [Bonus Track] (8:58)

Personnel:
* John Coltrane – soprano sax on "Olé," tenor sax on "Dahomey Dance" and "Aisha"
* Eric Dolphy (credited as "George Lane")[1] – flute on "Olé" and "To Her Ladyship", alto sax on "Dahomey Dance" and "Aisha"
* Freddie Hubbard – trumpet
* McCoy Tyner – piano
* Reggie Workman – bass
* Art Davis – bass on "Olé" and "Dahomey Dance"
* Elvin Jones – drums

sample & buy

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Coltrane, Jaspar, Sulieman, Young - Interplay for 2 Trumpets & 2 Tenors (1957) (eac-flac-cover)

Coltrane, Jaspar, Sulieman, Young - Interplay for 2 Trumpets & 2 Tenors (1957)

jazz | 1cd | eac-flac-cue-log-cover | 330MB

OJC | rar +5% recovery

AMG:
John Coltrane (tenor sax) resumed his association with Rudy Van Gelder's Prestige label on a late March 1957 "all-star" session alongside Idrees Sulieman (trumpet), Webster Young (trumpet), Bobby Jaspar (tenor sax), Kenny Burrell (guitar), Paul Chambers (bass), Art Taylor (drums), and de facto arranger/songwriter Mal Waldron. Things really heat up after the core ensemble retires, leaving Coltrane and Red Garland (piano) to be supported by the Chambers/Taylor rhythm section. But more about that in a moment. This interesting blend of instrumentalists lives up to its potential as well as the equally intriguing Interplay for 2 Trumpets and 2 Tenors (1957). In fact, the appropriately named "Interplay" is up first with the melody extracting a feel that, while deeply entrenched in bop, has undeniable roots in Dixieland. Sulieman is exceptional for his melodic and thoughtful contributions, although it seems to be Coltrane who drives the theme the furthest. The tune's call-and-response structure doesn't fetter Coltrane as he pushes boundaries, pointing in the direction his music would continue to take. Kenny Burell gets some space to stretch on the understated and refined cool of "Anatomy." After the horns collectively establish the mid-tempo groove, listeners are treated to sublime solos via the stringed mastery of both the guitarist's fluid fret runs as well as Chambers' warm and playful bowed bass. Waldron picks back up for a few bars before handing things over to the brass. Note Sulieman's focus and strength as his flurry is a perfect springboard for Coltrane's criminally short interjections. Just like its name suggests, "Light Blue" presents the essence of the blues in a practically playful manner. After the short but sweet intro -- featuring some excellent comping by Burrell -- Waldron's presence evolves into weaving phrases clearly inspired by the guitarist. It is fascinating how Coltrane "gets up to speed" as if his portion is joined already in-progress and fully formed. According to Carl Woideck's liner notes -- accompanying Coltrane's Complete Prestige Recordings (1991) -- the straightforward elegance of "Soul Eyes" was "written by Waldron with Coltrane in mind." No doubt another reason the saxophonist chose to incorporate the selection into one of the signatures of his own "classic quartet." The trumpets and tenor saxes collectively create a warm, intimate, and inviting harmonic embrace. Burrell is sublime as are Waldon's accents to his detailed string work, while the muted sound of Young conjures the cool and sweetness of Miles Davis. Most CD incarnations of Interplay for 2 Trumpets and 2 Tenors also include a rousing reading of Jimmy Heath's "C.T.A." with Coltrane, the aforementioned Red Garland (piano), and timekeepers Chambers/Taylor. The experience here is certainly looser, with the quartet leaping into overdrive as Coltrane's confidence soars and his playing is unquestionably ahead of its time.

Tracks:
1. "Interplay" — 9:44
2. "Anatomy" — 11:51
3. "Light Blue" — 7:48
4. "Soul Eyes" — 17:29
5. "C.T.A." - 4:40

Personnel:
* John Coltrane — tenor saxophone
* Bobby Jaspar — tenor saxophone
* Idrees Sulieman — trumpet
* Webster Young — trumpet
* Mal Waldron — piano
* Kenny Burrell — guitar
* Paul Chambers — bass
* Art Taylor — drums

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John Coltrane - Live in Japan 4cd (1966) (eac-flac-cover)

John Coltrane - Live in Japan 4cd (1966)

jazz | 4cd | eac-flac-cue-log-cover | 1355MB

Impulse! | rar +5% recovery

AMG:
This very interesting four-CD set contains two sets of music by the 1966 John Coltrane Quintet, recorded in Tokyo, Japan. Most of the music had not been released in the United States until 1991. Coltrane (heard on tenor, soprano and alto) engages in some ferocious interplay with Pharoah Sanders (on tenor, alto and bass clarinet), pianist Alice Coltrane, bassist Jimmy Garrison and drummer Rashied Ali; fans of Trane's earlier records may not like these atonal flights. However listeners who enjoy avant-garde jazz will find many stirring moments among the very lengthy performances. The shortest piece is the 25-minute version of "Peace on Earth" and "My Favorite Things" goes on for over 57 minutes.

Tracks:
Disc One
1. Afro Blue (Mongo Santamaría) - 38:49
2. Peace on Earth - 26:25
Disc Two
1. Crescent - 54:33
Disc Three
1. Peace on Earth - 25:05
2. Leo - 44:49
Disc Four
1. My Favorite Things - 57:19

Personnel:
Musicians:
John Coltrane - soprano, alto and tenor saxophones, percussion
Pharaoh Sanders - alto and tenor saxophones, bass clarinet, percussion
Alice Coltrane - piano
Jimmy Garrison - bass
Rashied Ali - drums

Discs I & II were recorded at Shinjuku Kosei Nenkin Hall in Tokyo on July 11, 1966
Discs III & IV were recorded at Sankei Hall in Tokyo on July 22, 1966

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John Coltrane - A Love Supreme (SHM cd 2007 limited edition) (1964) (eac-flac-cover)

John Coltrane - A Love Supreme (SHM cd) limited edition

jazz | 1cd | eac-flac-cue-log-cover | 230MB

Universal | 24bit remastered | rar +5% recovery

AMG:
Easily one of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped into the studio and created one of the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship (not to mention his best-selling to date). From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical yet emotionally varied soloing while the rest of the group is remarkably in tune with Coltrane's spiritual vibe. Composed of four parts, each has a thematic progression leading to an understanding of spirituality through meditation. From the beginning, "Acknowledgement" is the awakening of sorts that trails off to the famous chanting of the theme at the end, which yields to the second act, "Resolution," an amazingly beautiful piece about the fury of dedication to a new path of understanding. "Persuance" is a search for that understanding, and "Psalm" is the enlightenment. Although he is at times aggressive and atonal, this isn't Trane at his most adventurous (pretty much everything recorded from here on out progressively becomes much more free, and live recordings from this period are extremely spirited), but it certainly is his best attempt at the realization of concept -- as the spiritual journey is made amazingly clear. A Love Supreme clocks in at just over 30 minutes, but if it had been any longer it could have turned into a laborious listen. As it stands, just enough is conveyed. It is almost impossible to imagine a world without A Love Supreme having been made, and it is equally impossible to imagine any jazz collection without it.

Tracks:
1 - Part I: Acknowledgement
2 - Part II - Resolution
3 - Part III: Pursuance/Part IV-Psalm

Personnel:
* John Coltrane Sax
* McCoy Tyner Piano
* Jimmy Garrison Bass
* Elvin Jones Drums

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---> A Love Supreme Deluxe Edition 2cd version here <---

John Coltrane & Johnny Hartman - J Coltrane & J Hartman (1963) (MFSL) (eac-flac-cover)

John Coltrane & Johnny Hartman - J Coltrane & J Hartman (1963) (MFSL)

jazz | 1cd | eac-flac-cue-log-cover | 195MB

MFSL UDCD |rar  +5% recovery

AMG
John Coltrane's matchup with singer Johnny Hartman, although quite unexpected, works extremely well. Hartman, who had not recorded since 1956, was in prime form on the six ballads, and his versions of "Lush Life" and "My One and Only Love" have never been topped. Coltrane's playing throughout the session is beautiful, sympathetic, and still exploratory; he sticks exclusively to tenor on the date. At only half an hour, one wishes there were twice as much music, but what is here is classic, essential for all jazz collections.

Tracks
1. They Say It's Wonderful
2. Dedicated to You
3. My One and Only Love
4. Lush Life
5. You Are Too Beautiful
6. Autumn Serenade

Personnel
* John Coltrane – tenor sax
* Jimmy Garrison – double bass
* Johnny Hartman - vocals
* Elvin Jones – drums
* McCoy Tyner – piano

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John Coltrane - The Last Trane (1958) (eac-flac-cover)

John Coltrane - The Last Trane (1958)

jazz | 1cd | eac-flac-cue-log-cover | 230MB

OJC | rar +5% recovery

AMG
Despite its title (which was due to the original LP containing the last of Prestige's John Coltrane material to be released for the first time), this album does not have Coltrane's final recordings either of his career or for Prestige. These "leftovers" are generally rewarding with an alternate take of "Trane's Slo Blues" (called "Slotrane") being joined by three slightly later numbers ("Lover," "By the Numbers" and "Come Rain or Come Shine") taken from quintet sessions with trumpeter Donald Byrd, pianist Red Garland, bassist Paul Chambers and either Louis Hayes or Art Taylor on drums. Enjoyable if not essential hard bop from John Coltrane's productive Prestige period.
Recorded August 16, 1957, January 10, 1958 and March 26, 1958 in Hackensack, NJ.

Tracks
01 - Lover
02 - Slowtrane
03 - By The Numbers
04 - Come Rain Or Come Shine

Personnel
* John Coltrane — tenor saxophone
* Donald Byrd — trumpet (tracks 1,4)
* Red Garland — piano (tracks 1,3,4)
* Paul Chambers — bass (tracks 1,3,4)
* Earl May — bass (track 2)
* Art Taylor — drums (track 2,3)
* Louis Hayes — drums (tracks 1,4)

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John Coltrane - Coltrane (Deluxe Edition 2cd) (1962) (eac-flac-cover)

John Coltrane - Coltrane (Deluxe Edition 2cd) (1962)

jazz |  2cd | eac-flac-cue-log-cover | 820MB

Impulse | rar +5% recovery

Amazon.com
In 1962, John Coltrane found himself at the center of a storm of controversy, his tumultuous, searching music branded "anti-jazz" by one virulent critic. While Coltrane would continue along that exploratory path for the remaining years of his career, part of his response to the critical venom was to record some of the most sweetly lyrical music in jazz history. The LP Ballads established him as one of the great lyric players and set the tone for his collaborations with Johnny Hartman and Duke Ellington. The first CD presents the original album in all its luminous glory, the burnished, silvery sound of Coltrane's tenor meticulously remastered by the original engineer, Rudy Van Gelder. The second CD presents supplementary material from the original sessions as well as material that has only recently come to light. The classic quartet's collective concentration shows in seven complete takes of "It's Easy to Remember," testing its melody again and again until every gesture--from the flute-like tenor sound to Jimmy Garrison's bowed bass and Elvin Jones's triumphant drum crescendo at the conclusion--is sculpted to perfection. There are also several takes of the airy "Greensleeves" and a limpidly beautiful version of "They Say It's Wonderful" with Coltrane in duet with pianist McCoy Tyner.

Track List:
01 - Out of This World
02 - Soul Eyes
03 - The Inch Worm
04 - Tunji
05 - Miles' Mode

Bonus Disc:
01 - Not Yet
02 - Miles' Mode
03 - Tunji
04 - Tunji
05 - Tunji
06 - Tunji
07 - Impressions
08 - Impressions
09 - Big Nick
10 - Up 'Gainst the Wall

Personnel
Recorded August 11, June 19-20, June 29 and September 18, 1962.
* John Coltrane — tenor saxophone/soprano saxophone
* McCoy Tyner — piano
* Jimmy Garrison — bass
* Elvin Jones — drums

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John Coltrane - Love Supreme Live (1965) (eac-ape-cover)

 

John Coltrane - Love Supreme Live (1965)

jazz | 1cd | eac-ape-cue-log-cover | 360MB

Giants of Jazz (Immortal Concerts) | rar +5% recovery

amazon
If you know and love John Coltrane's quintessential "A love supreme", then you also need to hear the version included in this performance, recorded live in Antibes in 1965. Following on from the cathartic experiment that was "Ascension", this interpretation is much freer than the original as well as being fifteen minutes longer.
The group (Coltrane's "classic" quartet with McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums) are all on excellent form and although they adhere to the same four-part structure of the studio recording, things start to get really interesting during the "Pursuance" section which culminates in a frenetic duet between Coltrane and Jones. Then, in an extended "Psalm", Trane breaks free from the self-imposed restrictions of the original to produce a blistering exploratory coda....
The recording quality isn't perfect, but the excellence of the playing more than makes up for that, and nearly half an hour of "Impressions" and "Naima" completes this wonderful set.

Immortal Concerts. Juan Les Pins Festival, Antibes, July 26-27,1965 (1965)
total 1:16:24
label Giants Of Jazz 53068

tracks
1. Love supreme
2. Impressions
3. Naima

personnel
John Coltrane
McCoy Tyner
Jimmy Garrison
Elvin Jones

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