― Scott, Wednesday, 16 May 2001 00:00 (seventeen years ago) Permalink
Now on to the good part.
Africa/Brass (shite Greensleeves is on it, but Africa is utterly
Coltrane (the one with blue sleeve, mid-period, good not too wild)
Lush Life (early period, but very lush indeed)
Sunship (getting harder, this one is from late 65 I think)
A Love Supreme (jazz bores hate it because it's popular with non-jazz
bores. Fuck 'em...and it's about God and stuff which people tend to
I you want the *wild* stuff:
Meditations is the one. It still has some lyrical beauty in constrast
to Ascension which I don't know to well, but is supposed to be good
and his hardest moment with Live in Seattle.
I also love Interstellar Space, very spare but beautiful.
― Omar, Wednesday, 16 May 2001 00:00 (seventeen years ago) Permalink
A Love Supreme is quite boring and — if presented (as it routinely is) as JC's ultraclassic — it just inoculates foax against eg Live in
Seattle or Interstellar Space or Ascension. Because they think "It's good [ie ALS] but I don't like it: I'll go no further."
However there's a live take of ALS, which — haven't heard it for years — I recall thinking greatly better
― mark s, Wednesday, 16 May 2001 00:00 (seventeen years ago) Permalink
― Andrew L, Wednesday, 16 May 2001 00:00 (seventeen years ago) Permalink
Search: The Impulse Classic Quartet Box Set, The Village Vanguard
Box, the Johnny Hartman record, Giant Steps.
― Dave M., Wednesday, 16 May 2001 00:00 (seventeen years ago) Permalink
― Sean Carruthers, Wednesday, 16 May 2001 00:00 (seventeen years ago) Permalink
Also, stuff he did with Dolphy is amazing. Try and get live material
from '63 w/ Dolphy, like the first Village Vanguard sessions (I may
have the year wrong.) The Quintet Live in Paris is great, and has
Dolphy playing bass clarinet on "Blue Train," bumping it up a few
If you like lyrical Coltrane try "Transition." It has my favorite
composition of his, "Welcome." Which I want played at my wedding.
Actually, the rest of that album is so-so, but that track is so
My favorite "out there" stuff is probably Live In Seattle, could be
what you're looking for if you want the more intense sound.
Destroy: Well, how about the opening chant of "Om."
― Mark, Wednesday, 16 May 2001 00:00 (seventeen years ago) Permalink
As for the classic quartet and later stuff...
--I highly recommend 'Live at Birdland' as a first pick, it was mine
and from the beginning of Afro-Blue it pretty much floored me in terms
of intensity. Besides, Alabama is the most beautiful song he ever did.
--I'm also pretty surprised at any backlash against A Love
Supreme...for me, it's just an incredibly deep, emotional album that
pretty much defines everything good about jazz. Plus, the Crescent
album recorded the same year is my other favorite classic quartet
album, it's so laid back and solid.
--As for the later stuff, all the stuff with Alice and Pharoah Sanders
is pretty intense and free and busy...I 'got' Meditations after
awhile, but can only listen to that stuff every now and then.
Interstellar Space is a pretty singular record too (duet album with
Rashid Ali on drums)...I had NO idea what was going on there for a
long time. It's still pretty impressive in that sense, but it's easier
to hear the colors and patterns they are going for.
― Jordan, Wednesday, 16 May 2001 00:00 (seventeen years ago) Permalink
Is 'Live in Seattle' out on cd? I just can't find a copy.
― Omar, Thursday, 17 May 2001 00:00 (seventeen years ago) Permalink
― sundar subramanian, Saturday, 19 May 2001 00:00 (seventeen years ago) Permalink
― Dave M., Sunday, 20 May 2001 00:00 (seventeen years ago) Permalink
i think i probably find _is_ especially accessible because of its
similarities to indian classical music. i put it on at work once and
an indian immigrant co-worker loved it right away.
― sundar subramanian, Thursday, 24 May 2001 00:00 (seventeen years ago) Permalink
― Josh, Thursday, 24 May 2001 00:00 (seventeen years ago) Permalink
(ps josh: i'll write you back soon. i've just been really busy and
not had enough time when i get to terminals.)
― sundar subramanian, Saturday, 26 May 2001 00:00 (seventeen years ago) Permalink
― Josh, Sunday, 27 May 2001 00:00 (seventeen years ago) Permalink
'Meditations' - Don't be fooled by the title. I'm telling you. This
album here...will grab you by the balls and it will start to feel
'Ascension' - ...will grab you by the balls (that's for sure). It
won't exactly feel good, however (unlike the nearly transcendent
More or less, you can try most any of the later year Coltrane for the
nifty free-jazz experience (aka: post-Love Supreme - the ones you have
are pre-Love Supreme).
But, I know what you mean by "What's the fuss about this free-jazz
I've read so much about?" and...with that :
I'd also try some Cecil Taylor. Now, HE is what I truly call
avant-garde (wild/wacky/free-jazz). Cecil might just flat-out "blow
your mind" (if that's what you're looking for in jazz form). Try Cecil
circa 1966 ('Unit Structure') throughout/on up to around 1979 ('3
Phasis') and most inbetween (some of which is solo piano/some of which
with band - the two mentioned as bookends are with band - so, be
careful with that, taste according...personally, I kind of enjoy
schizophrenic solo piano playing, but...it does have a more limited
range than with band accompaniment).
― michael g. breece, Sunday, 1 July 2001 00:00 (seventeen years ago) Permalink
Search: A Love Supreme (definitely his best, I would say), Crescent,
and Meditations, just to name three off the top of my head.
Meditations might take a bit to get accustomed to that one. The one
with Johnny Hartman doing vocals is a nice, laid-back one.
Destroy: The later Village Vanguard album (with his final band) was a
bit too out there for me.
― Joe, Sunday, 1 July 2001 00:00 (seventeen years ago) Permalink
We like it because it's great. I wonder if this doesn't suggest that
there is something else other than jazz's complexity which turns some
of us off to most of it? "Giant Steps" (the title track) tends to
make me laugh. I like it's exuberance. He sounds like he's really
enjoying himself playing it, but there's room for us to share the
amusement. I'm still not sure I understand what "playing the changes"
― DeRayMi, Monday, 3 June 2002 00:00 (sixteen years ago) Permalink
― Julio Desouza, Tuesday, 4 June 2002 00:00 (sixteen years ago) Permalink
When you solo in straight-ahead jazz, the notes you play will generally reflect the harmonic structure of the song -- i.e. the chords. In tonal songs that are harmonically simple, the palette of "key notes" you have to choose from remains largely the same from chord to chord, so that at any given moment there are particular pitches that you can use as touchstones or "common tones", feeling pretty sure they won't dissonate. (For instance, if you're playing a very basic B-flat blues, the notes B-flat, C, E-flat, F, and G are all "safe" in that they're present in the scales that underlie all of the chords in a B-flat blues -- B-flat 7, E-flat 7, and F7. However, a solo made up of only those notes will likely be terrible, not least because it excludes "chord-defining" pitches and can't convey any sense of harmonic motion.)
The thing that makes the title track of Giant Steps so unusual is that the chords are changing very rapidly, and each chord is fairly remote from the previous one, so those touchstones are quite few. On top of that, the song is so fast that any given common tone is fleeting -- if you play a particular pitch for longer than a measure or so, the odds are that it will clash with a chord that's changing underneath you. So basically, the experience of improvising over "Giant Steps" can feel a little like trying to play catch in one of those gyroscopic whirlythings in which they train astronauts -- your frame of reference is constantly changing, and you have to think ahead at high speed in order to make sure that each of your choices will connect with where you're going to be in two seconds.
Given all that, the fact that Coltrane was able to play melodic and memorable solos in such a context is really remarkable, let alone the fact that he played them with total mastery. He didn't just plow his way through the chords, he weaved them into the fabric of his improvisation in such a way that, while they were integral to his solo and completely implicit in it (i.e. you can reconstruct the chord changes from his unaccompanied solo), he wasn't at all governed by them: he wasn't just running down the changes, he was using them as one would use a blues or "I Got Rhythm" changes or any other ground. In other words, he made the seemingly unnatural sound natural, even effortless, and in doing so he normalized a new part of human musical experience. It would've been incredibly easy to make "Giant Steps" sound like a gimmick, but Coltrane's sheer mastery made it seem instead like an open door, full of possibilities for new harmonic approaches that both he and others -- and anyone willing to listen and work hard -- could explore.
― Phil, Tuesday, 4 June 2002 00:00 (sixteen years ago) Permalink
― DeRayMi, Tuesday, 4 June 2002 00:00 (sixteen years ago) Permalink
― Ron, Tuesday, 4 June 2002 00:00 (sixteen years ago) Permalink
I really like the concert performance, especially Jimmy Garrion's solos in the third movement. Coltrane also plays a lot more noisily compared to the studio version, which I tend to enjoy. The sextet takes were a dissapointment. Shepp seems to be interrupting most of the time.
― Aaron Grossman (aajjgg), Tuesday, 28 January 2003 04:19 (sixteen years ago) Permalink
― sundar subramanian (sundar), Tuesday, 28 January 2003 04:38 (sixteen years ago) Permalink
and then coltrane is playing his scales like crazy, garrison just fades. its a slow fade, I'm trying to listen to him but even the tape hiss is making more noise at the end and when coltrane does his bit is the turn of pharoah sanders/rashied ali/alice coltrane trio. I don't whether Alice knows what to do really...you keep hearing those piano notes but it gets harder to pay any attention to her and she sounds as if she was taken aback, only ali can keep up with sanders, they are just so 'in tune' with each other. Pharoah sanders' solo is just a thing of beauty...he starts off playing these 'sorrowful' notes but gradually he becomes keeps squealing and blowing so hard that he actually transforms the alto to some sort synth but there's no 'common logic' (its some other sort of logic) to what he's playing (unlike a lot of 'warp' type stuff)...anyway, sanders/Ali make this track.
Coltrane comes back and he and sanders throw little sax lines at the each to round off with Ali to round it all off.
If a live album's purpose is to make you wish you were there then this fulfills that purpose.
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 09:40 (sixteen years ago) Permalink
but historically - and vital for understanding "a love supreme" properly - you need to hear his '57 recordings with monk.
― Marcello Carlin, Tuesday, 28 January 2003 09:51 (sixteen years ago) Permalink
I'm still mad at the uncut reviewer who wrote a review of the last concert. it was basically: 'Free jazz is not my bag so don't bother'.
excuse my unpolished previous post on this.
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 10:02 (sixteen years ago) Permalink
what do other people think of 'infinity'? i've been thinking about starting a thread about it, but i guess this'll do. for me the strings = classic, but i can see how the cd piss a lot of people off.
― toby (tsg20), Tuesday, 28 January 2003 10:11 (sixteen years ago) Permalink
I was looking for the live in japan 4CD box (it is a 4CD box yes?) but I couldn't find it at tower. must stop by HMV sometime.
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 10:28 (sixteen years ago) Permalink
― Aaron Grossman (aajjgg), Tuesday, 28 January 2003 21:21 (sixteen years ago) Permalink
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 21:30 (sixteen years ago) Permalink
That Ahsley Khan bk abt ALS is worth getting just for the pic of Ayler playing at JC's funeral - never seen that shot B4.
H*V doesn't have the 'Live in Japan' box, Julio - it must be out of print. In general, the collapse of the revived Impulse label has kind of left late period Coltrane reissues in limbo - now wld be a gd time to snap 'em up (or wait until the next set of superduper deluxe whatsits)
― Andrew L (Andrew L), Tuesday, 28 January 2003 21:37 (sixteen years ago) Permalink
grebt review of the book there andrew!
thanks for that andrew. so Impulse went down then that's a shame. The coltrane rack at tower was looking a bit 'empty' (though they are closing now but still).
I'm gonna try and get what's there i think.
― Julio Desouza (jdesouza), Tuesday, 28 January 2003 21:48 (sixteen years ago) Permalink
― hstencil, Tuesday, 28 January 2003 21:50 (sixteen years ago) Permalink
i have a question concerning the mixing quality of the album though. the cd i have has both saxes on the right channel and the drums on the left. the stereo sound is totally unbalanced as the saxes are so much louder than the rest. i always put the balance knob to the maximum level for the left channel. otherwise my right ear would get harmed when i put up the volume so that i can hear something from the left speaker. is that normal?
― alex in mainhattan (alex63), Sunday, 11 June 2006 16:47 (twelve years ago) Permalink
people used to put lots of effort into thinking and talking about actual records here, didn't they. well.
― tom west (thomp), Sunday, 11 June 2006 17:06 (twelve years ago) Permalink
― Dominique (dleone), Saturday, 9 September 2006 22:57 (twelve years ago) Permalink
― Tim Ellison (Tim Ellison), Saturday, 9 September 2006 23:06 (twelve years ago) Permalink
Coltrane bassist r.i.p.
Art Davis, 73; known for mastery of the bass, also was a psychologist
By Jocelyn Y. Stewart, LA Times Staff Writer
August 4, 2007
Art Davis, the renowned double bassist who played with John Coltrane and other jazz greats, was blacklisted in the 1970s for speaking up about racism in the music industry, and then later in life earned a doctorate in clinical psychology and balanced performance dates with appointments to see patients, has died. He was 73.
Davis, a player whom jazz critic Nat Hentoff once described as "an astonishing player" and "beyond category," died of a heart attack Sunday at his home in Long Beach, said his son Kimaili Davis.
"He was adventurous with his approach to playing music," said pianist Nate Morgan, who played with the elder Davis intermittently over the last 10 years. "It takes a certain amount of integrity to step outside the box and say, 'I like it here and I'm going to hang here for a while.' "
Known for his stunning and complete mastery of the instrument, Davis was able to genre-hop comfortably. He played classical music with the New York Philharmonic, was a member of the NBC, Westinghouse and CBS orchestras, and played for Broadway shows.
The most intense and enriching experience of Davis' career was his collaboration with John Coltrane. Described by Hentoff as Coltrane's favorite bassist, Davis performed on the saxophonist's albums including "Ascension," Volumes 1 and 2 of "The Africa/Brass Sessions" and "Ole Coltrane." The two musicians met one night in the late 1950s at Small's Paradise, a jazz club in Harlem, where Davis was playing with drummer Max Roach. Coltrane invited Davis to play with him the following morning at one of his legendary grueling practice sessions.
A few years later, when Coltrane was building his quartet, he invited Davis to join. By then he had become averse to touring and so declined, although he periodically played with the group.
Davis viewed his instrument as "the backbone of the band," one that should "inspire the group by proposing harmonic information with a certain sound quality and rhythmic impulses," Davis said in an excerpt from So What magazine posted on his website. "You let the bass do the talking. A bassist cannot be satisfied with playing straight." By following his own advice, Davis' career flourished. He played with a long and varied list of artists: Thelonious Monk, Duke Ellington, Rahsaan Roland Kirk, Louis Armstrong, Judy Garland, John Denver, the trio Peter, Paul and Mary and Bob Dylan.
Pianist Ahmad Jamal once dubbed Davis the "forgotten genius" because the outspoken bassist had been blacklisted for many years. Davis' decision to take a stand against racism was born of his experiences in music.
Davis began studying piano at age 5 in Harrisburg, Pa., where he was born Dec. 5, 1933. By sixth grade Davis studied the tuba in school simply because it was the only instrument available, he said.
By 1951 he decided to make music his career but chose the double bass, believing it would allow more opportunities to make a living. At age 17 he studied with the principal double bassist at the Philadelphia Orchestra. But when he auditioned for his hometown's symphony, the audition committee was so unduly harsh and demanding that the conductor Edwin MacArthur questioned their objectivity.
"The answer was, 'Well, he's ['colored']' — and there was silence," Davis recalled in a 2002 article in Double Bassist magazine. "Finally MacArthur burst out, 'If you don't want him, then you don't want me.' So they quickly got together and accepted me." After high school, Davis studied classical music on scholarship at the Manhattan School of Music and the Juilliard School of Music. At night he played jazz in New York clubs.
"It all sounded good to me — and I felt I could do a number of different fields," he told Double Bassist. "I was of one the first to switch back and forth from jazz to classical."
But the switch was not always an easy one. Davis encountered situations where race was more important than performance. In the 1970s, his fortunes waned after he filed an unsuccessful discrimination lawsuit against the New York Philharmonic. Like other black musicians who challenged job hiring practices, he lost work and important industry connections.
"As a person, he had enormous integrity," Hentoff said in an interview this week. "He wouldn't bend to accommodate bias or the ignorance of some of the people in the music business."
With less work coming his way, Davis returned to school and in 1981 earned a doctorate in clinical psychology from New York University. Davis was for many years a practicing psychologist while also working as a musician.
"I went up against the big power people and lost 10 years of my life. I feel vindicated [through his court case], and I wouldn't be a Dr. Art Davis if it hadn't happened," he told Double Bassist.
As a result of his lawsuit and protest, Davis played a key role in the increased use of the so-called blind audition, in which musicians are heard but not seen by those evaluating them, Hentoff said.
The accomplished musician also pioneered a fingering technique for the bass and wrote "The Arthur Davis System for Double Bass."
Davis also wore the hat of university professor; for two years he taught at UC Irvine. Most recently Davis was a part-time music instructor at Orange Coast College in Costa Mesa. He could be regularly heard on Sundays at the Ritz-Carlton in Laguna Niguel. Among musicians, Davis was highly respected for his work and his role in the Coltrane legacy.
"And he always had a great attitude, no matter what kind of music we were playing or how difficult the circumstances were," said Jan Jordan, the pianist who played with Davis at the Ritz.
"He always reached out to people in the audience."
― curmudgeon, Saturday, 4 August 2007 23:17 (eleven years ago) Permalink
― BIG HOOS aka the steendriver, Saturday, 4 August 2007 23:39 (eleven years ago) Permalink
RIP, a remarkable man.
Phil's explanation of "playing the changes" on this thread is so clear and to the point -- it sheds a lot of light in three short paragraphs.
― Brad C., Monday, 6 August 2007 00:06 (eleven years ago) Permalink
As close to a God to me as anything I hold dear. Sincerely. God schmod.
― Saxby D. Elder, Monday, 6 August 2007 00:16 (eleven years ago) Permalink
Looks like the AP and NY Times just found out about Art Davis.
― James Redd and the Blecchs, Friday, 24 August 2007 06:03 (eleven years ago) Permalink
for the "far out free jazz" type stuff, just look for anything from 1964 to 1967 (the year he died)
my favorites are a love supreme, one down one up (recently released live recording with a long insane title track solo), interstellar space, stellar regions (this one was unreleased until the 90s or something, it's awesome), and live in japan (4 cd set with intense long ass songs).
― bstep, Friday, 24 August 2007 18:37 (eleven years ago) Permalink
hate when ppl say blue train is 'boring'
― deej, Friday, 24 August 2007 18:39 (eleven years ago) Permalink
yeah the solo on blue train is awesome
― bstep, Friday, 24 August 2007 18:41 (eleven years ago) Permalink
it's fucking nice and just completely what you'd expect I suppose, but in the best sense of that!
― calzino, Friday, 29 June 2018 14:18 (nine months ago) Permalink
great to listen to this on my way in to work this morning, but i bet it's going to sound a hundred times better going back home again tonight
― I'd Rather Kecak (NickB), Friday, 29 June 2018 14:28 (nine months ago) Permalink
yeah — i mean, the urge to overrate it is probably high, but even on something as laid-back / workmanlike as "slow blues" (which they probably did just to blow off steam), it's wonderful to just luxuriate in the sound of this band. elvin jones! best drummer ever?
― tylerw, Friday, 29 June 2018 14:36 (nine months ago) Permalink
god this really was the best band ever
― flamenco blorf (BradNelson), Friday, 29 June 2018 15:05 (nine months ago) Permalink
garrison's bowed solo in the first track, my god
― flamenco blorf (BradNelson), Friday, 29 June 2018 15:06 (nine months ago) Permalink
I'm glad I have this thread bookmarked so I will be repeatedly reminded that I need to get this new one
― sleeve, Friday, 29 June 2018 15:07 (nine months ago) Permalink
this is really great, and i'm generally hot/cold on Coltrane
― Hotdogs Killcars (dog latin), Friday, 29 June 2018 15:10 (nine months ago) Permalink
The full Antibes Love Supreme set is on the deluxe edition from 2002.
A couple good Coltrane tribute songs are. . .
Cliff Jordan — 'John Coltrane' (1973)https://www.youtube.com/watch?v=Znr4KRw2au8
Abdullah Ibrahim — 'For John Coltrane' (1992)https://vimeo.com/82702349
So friggin' excited to hear the "new" record.
― (V) (°,,,,°) (V) (Austin), Friday, 29 June 2018 15:49 (nine months ago) Permalink
Wasn't bowled over by the first "new" track tbh
― Fedora Dostoyevsky (man alive), Friday, 29 June 2018 18:48 (nine months ago) Permalink
but I mean, this is an unfuckwithable era of the quartet and there was nothing bad about it either, looking forward to hearing the whole record
― Fedora Dostoyevsky (man alive), Friday, 29 June 2018 18:57 (nine months ago) Permalink
I went through a phase when I had Live at Birdland on nonstop and this seems like the studio analogue to that record afaict
― Fedora Dostoyevsky (man alive), Friday, 29 June 2018 18:58 (nine months ago) Permalink
Good piece by Lewis Porter here:
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Friday, 29 June 2018 19:05 (nine months ago) Permalink
this one popped up in my youtube subs, i'm liking it
― Arch Bacon (rushomancy), Saturday, 30 June 2018 17:10 (nine months ago) Permalink
Got my copy of the 2CD version in today's mail.
― grawlix (unperson), Saturday, 30 June 2018 17:16 (nine months ago) Permalink
― Hotdogs Killcars (dog latin), Friday, June 29, 2018 10:10 AM (two days ago) Bookmark Flag Post Permalink
― Listen to my homeboy Fantano (D-40), Sunday, 1 July 2018 05:44 (nine months ago) Permalink
Listening to Ole Coltrane today (first track, on repeat) and it's McCoy's album, or at least it's him I think of when I summon an aural image of the album. He's so in charge and oceanic. Then it's the knotted basses and Dolphy taking flight. I barely think of Coltrane and Elvin at all. Puzzling.
― The shard-borne beetle with his drowsy hums (Chinaski), Wednesday, 29 August 2018 14:10 (seven months ago) Permalink
Poor old Freddie doesn't even get a look-in.
― The shard-borne beetle with his drowsy hums (Chinaski), Wednesday, 29 August 2018 14:11 (seven months ago) Permalink
― The Vermilion Sand Reckoner (James Redd and the Blecchs), Wednesday, 29 August 2018 14:17 (seven months ago) Permalink
― The shard-borne beetle with his drowsy hums (Chinaski), Wednesday, 29 August 2018 14:20 (seven months ago) Permalink
I picked up "Concert in Japan" last night and it's pretty great, fidelity and chopped up sequencing notwithstanding. Rashied Ali is unreal on it.
― Scam jam, thank you ma’am (Sparkle Motion), Wednesday, 29 August 2018 17:18 (seven months ago) Permalink
Are you referring to this one? I have had it for possibly a decade and have listened to it maybe once. It's pretty crazy.
― outside, you're never alone. (Austin), Wednesday, 29 August 2018 17:36 (seven months ago) Permalink
That's the one! I had never heard it. It is indeed pretty crazy.
― Scam jam, thank you ma’am (Sparkle Motion), Wednesday, 29 August 2018 17:45 (seven months ago) Permalink
olé is sometimes my favorite coltrane album and it’s largely bc of its rhythm so it’s hard for me to listen to it and not focus on jones, also coltrane’s playing is so fucking mesmeric at this point that i can’t imagine not noticing him either! fair point that the interlocking basses kinda steal the show though
― princess of hell (BradNelson), Wednesday, 29 August 2018 17:50 (seven months ago) Permalink
I think I undersold how much I love Ole! It makes me want to run up mountains with a bull on my back.
I wonder if it's that I've listened to it so much that when I focus on it, I sort of hear through it to the bottom now. Anyway, what an astonishing thing. I wish he'd done more with that particular ensemble.
― The shard-borne beetle with his drowsy hums (Chinaski), Wednesday, 29 August 2018 19:54 (seven months ago) Permalink
OK ILM you've made me want to hear this again, it has been a few years. That title track, damn. It really doesn't get better than this, does it?
Also--maybe a nice thread idea but I don't think it would be very popular--are there many other examples in jazz of a well-known musician using a pseudonym for contractual (or other) reasons? I can't think of too many other examples, though there are obviously quite a few blues players who did this
― Paul Ponzi, Wednesday, 29 August 2018 23:40 (seven months ago) Permalink
McCoy was listed as ".Etc" on Joe Henderson's 'Page One' and other Blue Notes of the time owing to his conflicting contract with Impulse. And there's "Ed Kelly & Friend" and Leon Thomas' "Spirits Known & Unknown", both of which feature an pseudonymous Pharoah Sanders, listed as "Friend" and "Little Rock" respectively.
― Scam jam, thank you ma’am (Sparkle Motion), Wednesday, 29 August 2018 23:52 (seven months ago) Permalink
Did not know about any of those!
― Paul Ponzi, Wednesday, 29 August 2018 23:55 (seven months ago) Permalink
the cover for the Ed Kelly record is great
― Scam jam, thank you ma’am (Sparkle Motion), Thursday, 30 August 2018 00:17 (seven months ago) Permalink
oh and Pharoah is also credited as "Mystery Guest" on Larry Young's Lawrence of Newark
― Scam jam, thank you ma’am (Sparkle Motion), Thursday, 30 August 2018 00:19 (seven months ago) Permalink
― change display name (Jordan), Thursday, 30 August 2018 00:45 (seven months ago) Permalink
I love all the pseudonyms that jazz guys used. Charlie Parker used Charlie Chan, Cannonball Adderley used Buckshot LeFonque. . . there's lots of them.
― outside, you're never alone. (Austin), Thursday, 30 August 2018 00:54 (seven months ago) Permalink
omg who remembers Branford Marsalis's project Buckshot LeFonque? That hadn't popped into my mind for maybe two decades?
― Fedora Dostoyevsky (man alive), Thursday, 30 August 2018 07:05 (seven months ago) Permalink
Preemo AND Buckethead, lol
― Fedora Dostoyevsky (man alive), Thursday, 30 August 2018 07:07 (seven months ago) Permalink
Olé and Africa/Brass are my favourite Coltrane albums. His discography's so vast though, and I've only started exploring it a few years ago.
― willem, Thursday, 30 August 2018 07:23 (seven months ago) Permalink
I did not know about the key changes in Giant Steps, well explained in this awkwardly titled video from Vox:
― niels, Monday, 26 November 2018 14:45 (four months ago) Permalink
Adam Neely is a Coltrane obsessive. He did this video a while back and it blew my mind:https://www.youtube.com/watch?v=J98jwtm5U4E
― Totally different head. Totally. (Austin), Monday, 26 November 2018 16:47 (four months ago) Permalink
Adam is really smart. I took some lessons from him for a little while a few years ago and loved talking to him.
― Gottseidank, es ist Blecch Freitag (James Redd and the Blecchs), Monday, 26 November 2018 16:49 (four months ago) Permalink
Poor Tommy Flanagan. I thought they should have mentioned that he played Giant Steps on every gig he could after that, just so people would know he got it together (or at least I remember hearing that anecdotally).
Great video otherwise.
― change display name (Jordan), Monday, 26 November 2018 16:51 (four months ago) Permalink
Feel like “most” “serious” fans have gotten beyond that, but maybe that is just wishful thinking. By the time I was seeing him I don’t recall him playing “Giant Steps” and don’t really remember too many people bringing it up in conversation.
― Gottseidank, es ist Blecch Freitag (James Redd and the Blecchs), Monday, 26 November 2018 17:22 (four months ago) Permalink
This new 1963 box set Impulse is putting out seems like kind of a ripoff to me - it's the tracks from that "lost album" they just released, with John Coltrane and Johnny Hartman, Live at Birdland, and I think some other previously released stuff tacked on.
― grawlix (unperson), Monday, 26 November 2018 17:29 (four months ago) Permalink
Ah, good to know, James.
― change display name (Jordan), Monday, 26 November 2018 17:33 (four months ago) Permalink
I’ve been geeking out to his solo on But Not for Me from My Favorite Things lately. He does stuff in there that already sounds like “late” Coltrane
― longtime caller, first time listener (man alive), Tuesday, 15 January 2019 14:46 (three months ago) Permalink
Urrr, brainfart, I meant Summertime, not But Not For Me
― longtime caller, first time listener (man alive), Tuesday, 15 January 2019 17:21 (three months ago) Permalink
semi kicking myself for not picking up whichever European tour was £15 in FOPP.Did get Village Vanguard though just realising that I probably had most of it since i still have most of teh box set somewhere.Want to pick up most of his Impulse lps and probably a few of teh Atlantic ones.
Also should have grabbed Pharoah Sanders' Elevation when I saw it in Honest Johns.
Do love Afro Blue Impressions since chancing on it on vinyl in Belfast 28 years ago & I assume the European tour material is going to be pretty similar.
― Stevolende, Tuesday, 15 January 2019 17:49 (three months ago) Permalink
& I assume the European tour material is going to be pretty similar.
It mostly is, but the first disc-and-a-half is with Eric Dolphy. I haven't checked, but I wouldn't be surprised if you could find just the Coltrane/Dolphy live European stuff as a standalone disc.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Tuesday, 15 January 2019 18:09 (three months ago) Permalink
(sorry, to clarify: the first disc-and-a-half of the Live Trane: The European Tours box)
Man, Interstellar Space is really peak music
― longtime caller, first time listener (man alive), Thursday, 17 January 2019 16:34 (three months ago) Permalink
listening to that prestige '58 box .. it's often quite familiar stuff, but still so good.
― calzino, Thursday, 11 April 2019 15:23 (one week ago) Permalink
Kenny Burrell, Donald Byrd, Paul Chambers, Jimm Cobb, Tommy Flanagan, Red Garland, Louis Hayes, Freddie Hubbard - literally fucking top notch '58 combos!
― calzino, Thursday, 11 April 2019 15:29 (one week ago) Permalink
Coltrane w Kenny Burrell was one of my first jazz records and I love it so much
It's sort of interesting in jazz how since these guys all did so many sessions in short periods of time, it can be sort of arbitrary which one you wind up starting with and that one often becomes a favorite.
― longtime caller, first time listener (man alive), Thursday, 11 April 2019 18:23 (one week ago) Permalink