This week’s theme: Jazz records recorded on Feb. 4. Featured artists include Charles Mingus, Miles Davis, John Coltrane, Bill Evans, Billy Taylor, Hal McKusick, Art Farmer, Charlie Parker, Ella Fitzgerald, Billie Holiday, Phil Woods, Jon Eardley, Paul Chambers, Red Garland, Philly Joe Jones, Louis Smith.
This week’s theme is a simple one: John Coltrane on Blue Note. Enjoy.
Speaking of playing favorites, the other night I had a little time to do some mindful listening, so I put on one of my all-timers, Sonny Rollins Plus Four, Prestige 7038, original pressing, original cover, as seen in the accompanying photo. As I’m listening, I’m picturing the musicians in Van Gelder’s studio playing live, looking at one another and giving signals and approvals, all young men in their primes discovering what they were capable of doing and, on this album, doing it as well as anyone ever did it. Then I put on a record I haven’t listened to nearly as often as Sonny Rollins Plus Four, which was Newk’s Time, Blue Note 4001, and I had the same picture in my head with the four musicians on that album, Sonny, Wynton Kelly, Doug Watkins and Philly Joe Jones. And then my mind started wandering and this is what I thought. Read more
I was driving in the car the other day and listening to a playlist on my phone. A usual car playlist will have a variety of music, from the Beatles to Ella, James Taylor, 60s rock and, of course, some jazz. I was listening for about a half hour, singing along a little, but nothing that necessarily put a smile on my face. But then came this: Paul’s Pal, by Sonny Rollins. As soon as it came on, my face lit up. For me, it’s one of those songs that always puts a smile on my face. Maybe it reminds me of the first time I heard it, or perhaps because it always seemed to me like Sonny was smiling while he played it. Anyway, I started thinking about the record, Tenor Madness, and the thought popped into my head: If I could keep only one record, Tenor Madness would be one of the contenders. Now, I realize this is silly because there is so much music available everywhere in digital formats, so I could listen to pretty much anything I would want at any time. But it’s my game, and here’s how I played it out. Read more
I happened to be perusing old DownBeats yesterday when I casually opened up the issue of Oct. 30, 1958. The “jazz record reviews” listed on the cover were for Harry Belafonte, Terry Gibbs, Benny Goodman, Earl Hines, Shorty Rogers and Bob Scobey. Nothing too interesting, and I almost passed up on reading the reviews. So I was a bit surprised to see that this issue contained reviews of two of the rarest and most highly treasured records in the entire Jazz Collector pantheon: Sonny Clark, Cool Struttin’, Blue Note 1588 and Hank Mobley, Blue Note 1568.
Let’s start with Cool Struttin’. The reviewer, Don Gold, gave it two and a half stars out of a possible five stars. To put it in perspective, Cool Struttin’ had a lower rating than these records, also reviewed in this issue: Steve Allen All Stars Featuring Terry Gibbs; Danny Alvin and His Kings of Dixieland Play Basin Street: Belafonte Sings the Blues; Paul Horn Plenty of Horn, and Moe Koffman, The “Shepherd” Swings Again. This is what the reviewer had to say about Cool Struttin’:
One of the great things about having so many collectible records is that I can always dig somewhere into my collection and find a classic record I haven’t listed to in a while. I did that last night, putting The New Miles Davis Quintet, Prestige 7014, on the turntable for the first time in a number of years. It’s a classic and, of course, the first Miles record with John Coltrane. A few things struck me about this record. Miles and Trane were the same age, both 29 when the album was recorded, yet they were at much different points in their careers and in their development. Miles was fully formed and his playing was absolutely confident. Trane’s playing was much more tentative and his style was not nearly as developed as it would become in the ensuing years. You can hear elements of his budding genius, but just elements and otherwise you hear someone still working on finding himself. For the hell of it, right after listening to this LP, I put on A Love Supreme and, obviously the difference was quite stark. Another thing about this record is Read more
It’s Friday, the day after Thanksgiving and, for some reason, this seems a day to sit around and do nothing except listen to music. So I have been in my music room poring through records and putting on some favorites that I don’t listen to all of the time, or haven’t listened to on vinyl in a while. I started with an old Riverside, Bags Meets Wes, Riverside 407. This was recorded in December 1961 and features a great rhythm section of Wynton Kelly, Sam Jones and Philly Joe Jones, in addition, of course, to Milt Jackson and West Montgomery. Side one starts with a blues, “S.K.J” and then Stablemates, Stairway to the Stars and another blues, Blue Roz. I got involved listening to Philly Joe on brushes, which is always a miracle, and that led me to Sonny Rollins, Tenor Madness, Prestige 7047, not Side One with Coltrane, but Side Two featuring Paul’s Pal, with some great Philly Joe brushwork, then My Reverie and The Most Beautiful Girl in the world. Read more
One of the pleasures of having an extensive jazz collection is that it gives you the opportunity to go back and review the history of jazz in real time, as it was happening. This is particularly the case when you look at old issues of Downbeat or Metronome, or review old liner notes, an art form that began approaching extinction with the advent of the compact disc format. In any case, allow me to share some interesting stuff from my archives.
Downbeat, January 18, 1962
Review: John Coltrane, Africa/Brass, Impulse 6
This record was a departure for Coltrane: The first time he ever played with a brass section. It is now regarded as a classic, rightfully so, particularly the title cut, which makes up the entire first side of the album. At the time, however, the Downbeat reviewer, Martin Williams, didn’t see it that way. He gave it only two stars, out of a possible five. Here’s a sample from the review:
