elvinjones – Jarrett House North

Wayne Shorter, JuJu

Album of the Week, September 28, 2024

Miles’ Second Great Quintet took a while to gel, and the hardest position to settle was the second horn. Miles had worked with John Coltrane in the first quintet, and whether through conscious comparison to that titan’s stature or by some other means, the saxophonists—including Hank Mobley and George Coleman—who joined the quintet would leave without making much of an impact. It took the arrival of Wayne Shorter in late 1964 to bring all the pieces together; we’ve listened to the document of that beginning, in the recording of a live performance of the quintet from September 1964 released as Miles in Berlin.

But Shorter was hardly sitting on his hands prior to joining the quintet. In April 1964 he recorded his first album as a leader for Blue Note Records, Night Dreamer. He followed this with today’s session, recorded August 3, 1964 at Van Gelder Studios in Englewood Cliffs, New Jersey, just about six weeks after Herbie Hancock’s session that became Empyrean Isles. Unlike Hancock’s session, though, JuJu featured not his bandmates in Miles’ quintet, but the rhythm section of a different saxophonist entirely: McCoy Tyner, Elvin Jones, and Reggie Workman, all of whom had worked with John Coltrane. In fact, Tyner and Jones had been in Van Gelder’s studio with Coltrane a week after Hancock’s band, on June 24, 1964, recording the tracks that would be released over fifty years later as Blue World.

The use of Coltrane’s rhythm section was controversial at the time for Shorter, who was fighting a mistaken impression in some quarters that he was only a Coltrane imitator. But JuJu would prove how wrong that impression was by foregrounding not only Shorter’s brilliant improvisation but also his compositional genius in a way that hadn’t been exposed to this point.

Shorter has said that “Juju” was inspired by African chant, which it may well have been, but what is most striking about it is its use of whole tone sequences in the descending opening note, over huge block chords from McCoy Tyner. Tyner takes the first solo, and it’s striking how without Shorter’s melodic line and that whole tone scale how normal everything sounds, at least until the head of the melody comes back. When I first heard this tune, on the Blue Note Best of Wayne Shorter compilation sometime in my early college years, I was struck by the echoes of Coltrane’s sound. Listening now, many years later, there’s definitely the sound of Coltrane’s band, but Wayne’s soloing is a completely different thing. He finds different corners of the melody and scale around which to improvise but never seems to disappear into the music the way that Trane was doing in 1964. The incredible moment for me in this work comes near the end, where after two minutes of intensely rhythmic soloing, Wayne surrenders to the harmonic imperative and simply blows a trill, then returns to his solo with octave jumps and shorter phrases as though he’s catching breaths. But he isn’t surrendering to the dance, as the inversion of the melody he plays at 5:30 shows; he continues to play consciously through the whole work. An intense drum break from Jones separates Shorter’s solo from the final choruses, and even here Shorter doesn’t bring the piece to a neat close; in the last 30 seconds he’s found a new melodic pattern, and Van Gelder fades out the end as the band still explores.

“Deluge” opens out of time, but quickly pivots into a swinging minor melody that is pretty conventional… until Shorter’s solo descends its scale from the supertonic and we’re reminded that we’re in the presence of a harmonic genius. Tyner’s solo remains grounded in the original chords. For a player who was himself no compositional slouch we can hear the difference in their imaginations and approaches to the music at this stage, as Tyner improvises across chords and rhythm while Shorter thinks melodically across a wide harmonic range.

“House of Jade” opens with a meditative arpeggio that might have appeared on one of Tyner’s later Blue Note albums, but was actually written by Shorter’s then-wife Irene. When Shorter’s saxophone enters it returns us to the moment with a 16 bar minor key melody that then transitions into a series of held suspensions, played as delicately as possible. The reverie lasts even as Shorter and the band take the melody into a double-time section, then back into the slower reflection to close.

“Mahjong” opens with that greatest of gifts, a sixteen-bar Elvin Jones drum solo in which we get to hear his full harmonic and rhythmic command of his instrument. Nat Hentoff’s liner notes point out that the tune is structured in a way—four bars melody, “4 rhythm, 4 melody, 4 rhythm, 4 bridge-type melody, 4 melody, 4 rhythm … the 4 bar sections of rhythm without melody suggest players pausing to think of their next move.” Mostly, though, the piece gifts us another brilliant Shorter improvisation, particularly at the end where his descending scales taper into a crepuscular hush…

… which makes the impact of the opening run of “Yes or No,” probably the second best known of the compositions on the album after the title track, all the greater. While the form of Shorter’s melody is blueslike, we’re definitely not in the harmonic language of the blues; the tune arpeggiates around a major triad but then leaps the octave and drops a minor third down to the 6th, repeats the pattern, and then climbs up a minor scale and descends down a set of minor triads to return to the tonic. All those words aside, it’s an immensely memorable melody and one that, even with the minor colors in the last four measures of the tune, is upbeat and exuberantly happy. McCoy Tyner follows, picking up from Wayne in the middle of a chorus, and playing through the changes with a gorgeous light touch, only occasionally falling back on the heavy clusters of chords that mark so much of his playing through the rest of the album. Elvin Jones’ extroverted drumroll at the end puts the cherry on top of what is a delightfully rich sundae.

“Twelve More Bars to Go” is, as Shorter says, both a nod to the 12-bar blues form of the piece and a picture of “someone having a very good time, going around to every bar in town.” The portrait plays out through the solo, as Shorter injects an inversion of the harmonic pattern at the very beginning, as he says, “to picture a man, slightly intoxicated, who, as he tries to go forward, backs up.” There are intermittent pauses, long stretches of fluent playing, repeated ideas — it sounds as though Shorter’s narrator has been having a wonderful time. As have we.

Wayne Shorter wasn’t done recording outstanding music with JuJu. On Christmas Eve 1964 he went on to record Speak No Evil, and the following month began recording E.S.P. with Miles. All told, Shorter and the other members of Miles’s band were on track to make the 1964-1965 period one of the most fruitful in modern jazz recording. We’ll hear another album from one of the members of the quintet that was also recorded at the same time, with some of the same players, next week.

You can listen to this week’s album here:

McCoy Tyner, Extensions

Album of the Week, April 27, 2024

As McCoy Tyner continued on his post-Coltrane career, his version of the modal jazz that he had begun playing with Trane from the earliest days continued to evolve. We saw some of the developing hallmarks of the style with Expansions: use of minor modes, unusual percussion, and drones. These continue on Extensions, recorded by Tyner on February 9, 1970 at Van Gelder Studios in Englewood Cliffs, New Jersey, but not released by Blue Note until 1973, after he had already left the label.

Tyner brought to the sessions not only his compositional A game but an incredible band. Returning from Extensions were Gary Bartz, Wayne Shorter and Ron Carter; new members included his old bandmate Elvin Jones on drums, and another Coltrane—Alice—on harp.

Alice McLeod, born 1937 in Detroit, began her jazz career at an early age, performing on piano in Detroit clubs in the late 1950s and moving to Paris to study with the great Bud Powell. She married a jazz musician there, trumpeter Kenny “Pancho” Hagood, and had a daughter, but was forced to return to the States as Hagood’s heroin addiction worsened. She performed with her own trio and with vibraphonist Terry Pollard; she was playing in Terry Gibbs’ quartet in 1962-1963 when she met John Coltrane. They married in 1965, and Coltrane became her daughter’s stepfather; they had three children together. Alice joined Coltrane’s band in 1966 after McCoy Tyner’s departure and played piano in the quartet until Trane’s 1967 death. She encouraged Trane’s growing interest in spiritual matters from as early as A Love Supreme, and he encouraged her musical development, even ordering a full sized concert harp for her without her knowledge which was delivered after his death.

Alice Coltrane wasn’t the first to adopt the concert harp as a jazz instrument; others, notably Dorothy Ashby, pioneered the instrument in a jazz setting. But she was the first to bring its sound into spiritual jazz, where she denuded it of any classical affectations. The harp sound that she adds to the album evokes music from earlier traditions, including African and Middle Eastern, a connection reinforced by the album’s National Geographic inspired cover.

Together on Extensions, Tyner and Alice Coltrane conjured a jazz sound that took the hallmarks of Tyner’s spiritual jazz style and added an element of repetition, almost to the point of mantra, and groove. Trane had all but abandoned traditional meters by the time of his death, but the form of spiritual jazz that Tyner plays here is anchored in a constant heartbeat.

That heartbeat begins with Ron Carter, who opens “Message from the Nile” with a pulse on an open fifth. Alice Coltrane follows after four bars, adding harmonic complexity by bringing out the supertonic and seventh notes of the chord in her rhythmic harp patterns as Elvin Jones enters on cymbal and snare. Tyner enters, stating the melody with repeated, strongly rhythmic piano chords. Shorter and Bartz join at the second chorus, playing the melodic pattern in parallel fifths. The whole tune essentially consists of two tonal centers a minor sixth apart, and in each part of the tune the same melodic patterns are repeated four times, as if establishing a mantra for meditation; the static melodic and harmonic pattern still moves thanks to the strong rhythm established by piano, bass, drums and harp. Tyner solos, exploring the corners of the tonality established at the top, and then passes to Shorter, whose soprano saxophone echoes some of Coltrane’s melodic searching without dipping into the growled or smeared tones practiced by Trane. Those effects appear in Bartz’s solo as he returns over and over to the tonic. Alice Coltrane’s harp solo returns some measure of the opening ethereal meditation, underscored by a high-pitched wooden flute, uncredited but possibly played by Tyner himself (he was credited with playing the instrument on a subsequent Blue Note date). The whole thing is an active meditation, which WHUR-FM music director André Perry argued in the liner notes was influenced by the “history of the Black man … deeply rooted in the experiences that transpired on and along the Nile river.”

“The Wanderer” takes a more straightforward compositional approach and is the only track on the album on which Alice Coltrane does not appear. In contrast to “Message from the Nile,” the tune moves through eight chord changes in as many measures, the restlessness giving the tune its name. There’s a thematic connection to the prior tune, though, in the strong rhythmic pulse and in the playing of the theme in parallel fifths by the saxophones. However, there’s an abrupt gear shift about one minute in following the third statement of the melody, as Wayne Shorter takes off on a tenor exploration around the melody that’s underscored by Ron Carter’s running bass line. Carter indeed seems to find new tonal centers as he grounds the line in a sustained pulse on the tonic and the seventh. Shorter tapers off in a series of triple note runs, at which point Bartz picks up the solo torch in the alto that explores the ideas that Shorter was just playing with before returning to the melody, shifting it into a few different keys and then passing to Tyner. Tyner’s solo continues shifting the tonal center around until the players fall away and Jones wanders into several different rhythmic patterns, before transitioning back to the strong beat of the beginning as the band recapitulates the opening.

By contrast, “Survival Blues” begins with Tyner playing solo, an opening that seemingly straddles the spiritual jazz in which the record is centered with more traditional blues chords, even seeming to reach into some Duke Ellington inspired moments around the 30 second mark. At about the one minute mark, he settles into a strong rhythm backed by a repeated bass ground and supported by Jones in full polyrhythmic splendor, as well as by Alice Coltrane, who provides both chordal continuity and moments of chromatic accent. The tenor saxophone states the melody, which runs an octave via the seventh, three times before Shorter begins to shift things around, both chordally and rhythmically. His lines explore the entirety of the space around the melody before handing off to Tyner, who finds secondary rhythms and a second center of gravity around the fifth of the chord. Coltrane joins him on the second half of the solo, as she both picks up some of the secondary rhythms and reinforces the underlying chords with carefully chosen accenting notes in the upper octaves. Ron Carter takes a solo, accompanied by shaken sleigh bells, that walks the core rhythm around the entirety of the octave, finding unsettling tensions in the slide from the second to the third and down to the octave. The introductory melody returns before Jones takes an extended solo that explores the core pulse. The band returns, including Coltrane who performs an extended glissando into the restatement of the opening theme before Shorter returns once more to state the opening theme. (Bartz appears to have sat this one out.)

Coltrane brings that magnificent glissando back to open “His Blessings,” as Tyner explores the opening chord while Carter’s arco bass plays a melody that expands into a tremolo, Bartz pulses small fountains of sound, and Jones’ oceanic rolls keep things moving along. Shorter plays a line in the soprano saxophone that brings John Coltrane’s melodies on Sun Ship to mind while simultaneously calling back to In a Silent Way. Alice Coltrane takes a solo, performing glissandi in the upper strings while playing a melodic line with her other hand in the middle strings, over Carter and Tyner. Shorter returns for one more extended solo over a tremolo bass solo that hangs suspended on the fifth. If other tracks on the album call to mind some of Tyner’s earlier compositions, this one is unique, a spiritual meditation that seems to hang like a sphere in the air. The liner notes credit this as “the reflections of my life and the time afforded me with John Coltrane.”

In early 1970, Tyner was at the peak of his compositional and performing career, and Extensions reflects it. This was a peak period for his writing and performance that would continue even as he left Blue Note, a transition that delayed the release of Extensions for several years. But part of the credit for this album inevitably accrues to his players, especially Alice Coltrane. That debt becomes clearer when we listen to her work next week.

You can listen to the album here:

https://youtu.be/Yj1-m9Y_4KQ?si=vOycjqfYql86Yxw6

John Coltrane, Sun Ship

Album of the Week, April 6, 2024

Like all great things, the classic John Coltrane Quartet was not to last. Trane’s restless searching, which we’ve seen in Evenings at the Village Gate and A Love Supreme: Live in Seattle, was constantly seeking new sounds and new instrumentation. This started with more drums and bass, and extended to bringing in additional horns, either individual saxophonists like Archie Shepp and Pharoah Sanders (heard on Meditations, recorded November 23, 1965), or whole horn sections as heard in Ascension (recorded June 28, 1965).

But the classic quartet continued to be a performing and recording unit throughout this pivotal year; indeed, Trane hardly stopped recording, not even letting obstacles like the unavailability of Rudy Van Gelder’s studio slow him down. As a result, many of the sessions recorded during this period were not released until years after his death, including Transition and Living Space (recorded in June 1965) and today’s record Sun Ship, recorded at the RCA Victor Studios on August 26, 1965.

“Sun Ship” begins with a blast, Trane blowing rapid four-note patterns while the rhythm section follows his staccato lead, then four bars of apocalyptic drums from Elvin Jones, a repetition of all of the above, and then an extended solo from McCoy Tyner. Tyner here is far from the mannered player of Reaching Fourth or Nights of Ballads and Blues; while rooted in chords, he nimbly shifts the focus of his solo from racing arpeggios to bomb-dropping block chords to blistering rhythmic patterns that recall Trane’s opening salvo, all egged on by Jones’ massive drum presence. Jimmy Garrison holds on throughout it all, providing running commentary and suspended fifths. When Trane reenters, he is in full prophetic mode, the tone of his saxophone fraying and smearing as he plays extended runs that blow right past the metrical bounds of the composition. He finds honking, bleating tones at both the high and low end of his range and keeps pushing the limits of his instrument’s sound right up until the track stops abruptly just past the six-minute mark.

“Dearly Beloved” starts with a rare snippet of studio chatter from Trane to his band: “then you can go into it later… well, I think it would better to keep pressing, so we will keep a thing happenin’ all through it, but you can go through it when you feel like it. Ready?” At which point Trane introduces a broad, dramatic minor-key melody that would have been at home between the “Resolution” and “Psalm” movements of A Love Supreme. Jones and Garrison provide a heartbeat beneath Trane’s melody. Tyner, meanwhile, sketches the chord progressions with alternating block chords and ornaments, at points barely audible beneath Trane’s onslaught. When Trane subsides, we hear what Tyner has been doing: he has his own melody against a brook-like obbligato that captures a serene pause before racing back through Trane’s chords, to return once more to the C♯ tonality from the beginning. The track is full of movement but returns again and again to this serene center. “Amen” follows a similar structure, though the melody and chords bear a family resemblance to “Resolution.” At one point Tyner’s crashing chords roll forward into a triple meter, a sort of frenzied waltz, before falling back to Trane. Coltrane’s closing solo seems to take the form of a wailing prayer before tapering off to a quieter conclusion; the crashing wave of Elvin Jones’ drums brings the track to a conclusion.

Side two opens with the quiet melodic statement of “Attaining,” played freely over the quartet’s oceanic explorations with a statement reminiscent of “Lonnie’s Lament” from Crescent. After the introduction, though, the quartet drops into a lower key, with Trane speaking the words of an unknown poem through his horn over a relentless triplet rhythm in Elvin Jones’ drums. (A listen to the complete Sun Ship recordings, released a few years ago, shows that the key change is actually the result of a splice of two different takes!) When the group coalesces into a forward beat, it’s driven forward by a prominent pizzicato part from Garrison over bursts on the cymbals and snare from Jones, while Tyner takes an extended solo. The brilliant bit of the track, though, is the way that Tyner and Jones collectively slow the heartbeat through their use of polyrhythms without appreciably slowing the actual tempo of the underlying pulse. There’s one more statement of the psalm followed by another roaring wave from Jones before the quartet changes key down once more, with psalm in saxophone over a bowed line in the bass. The whole thing is breathtaking.

And then Jimmy Garrison begins “Ascent” with a simple six-note ascending chromatic figure, alternating with patterns of descending thirds, then the chromatic figure played in parallel on adjoining strings a fourth apart. Garrison continues with his solo exploring different melodic patterns around the chords implied by the chromatic scale. After about five minutes—halfway through the track—Jones joins with a bouncing figure on the cymbals and snare, and he and Garrison slow to a halt. Then Trane joins with a version of the chromatic theme played in the original lower key, and Tyner splashes blocks of chords underneath everything. Together, they take the quietly spoken prayer and make it a group cry, before Garrison repeats the theme one last time.

“Ascent” serves as a fitting send-off for the quartet in its original form. Tyner, Jones and Garrison were clearly the only group on the planet that could keep up with his energy, but the writing was already on the wall that their time together was limited. In early 1966, Elvin Jones left, feeling that his polyrhythmic style was clashing with the more omnidirectional approach of Rashied Ali, who had joined as a second drummer. McCoy Tyner had already left in December 1965, saying something similar about Ali and the other percussionists who joined: “I didn’t see myself making any contribution to that music… All I could hear was a lot of noise. I didn’t have any feeling for the music, and when I don’t have feelings, I don’t play.”

Trane continued to add more avant-garde players to his sound in the last years of his life. We’re going to hear from some of them, but next week we’ll listen to one of the members of the Classic Quartet in his rejuvenated career as a leader.

You can listen to this week’s album here:

John Coltrane, A Love Supreme: Live in Seattle

Album of the Week, March 16, 2024

Following the January 1965 release of A Love Supreme, John Coltrane took it on the road with the musicians of the Quartet, playing a legendary handful of shows that presented the material, still unfamiliar to many audiences, with a newly expanded band. For years it was thought that a performance at the Antibes Jazz Festival on July 26, 1965 was the only surviving recording of these shows. However, in 2021 a new recording, of a performance at the Penthouse Club in Seattle, was unearthed, and it was astonishing — not only did it document Trane performing the entire suite plus additional interludes, it also featured an expanded band that added Donald Rafael Garrett playing a second upright bass alongside Jimmy Garrison; Carlos Ward, playing alto saxophone in what would be his only performance with Trane; and most importantly the tenor saxophonist Pharoah Sanders, in a rare early appearance with the band.

Sanders, born Ferrell Lee Sanders in Little Rock, Arkansas on October 13, 1940, was still relatively unknown when he began playing with Trane, but he was far from inexperienced. Having moved to New York City in 1962 and with no fixed residence, the great Sun Ra gave him a place to live and encouraged him to use the name “Pharoah.” He performed with Billy Higgins and Don Cherry, coming to the attention of Eric Dolphy and John Coltrane. By June 1965 he was recording with Trane, first on his great free jazz work Ascension alongside the Classic Quartet and other guest players like Archie Shepp, Marion Brown, and Freddie Hubbard; then in October 1965 on this recording. He would go on to record more dates with Trane, including the milestone session Meditations and Om.

Garrett (born 1932 in El Dorado, Arkansas) had met Coltrane in 1955 while Trane was touring with Miles, and played with Ira Sullivan, Rahsaan Roland Kirk, and Eddie Harris. In 1961 he played as second bassist with Coltrane’s group alongside Jimmy Garrison. Then in 1965 he met Trane again and was invited, along with Sanders, to join the band. And Ward was invited to sit in with the band after Trane heard him play. He can be heard on this record and on one track on the separately issued Live in Seattle, and went on to play with Rashied Ali, Abdullah Ibrahim, Don Cherry, and the funk band B.T. Express.

The performance of the suite at the Penthouse was preceded by two other sessions; on September 30 the group recorded the music for Live in Seattle, and the following day they recorded Om in a rented house in Lynwood, Washington. So the group had some time to gel with each other, and you hear that in the playing. The album opens with Trane playing a version of the fanfare that opens the suite, over chords in Tyner’s piano and arco bass. One of the two bass players then plays a free pizzicato solo that eventually evolves into the four-note “Love Supreme” motif, and the band is off to the races.

The whole performance feels like a stretched (or expansive) version of the suite. With the two basses in particular, there is more soloing throughout, with both Garrison and Garrett getting substantial solo time. Tyner gets extended passages where he explores alternate rhythms. Most importantly, you begin to hear all the players improvising at once on their own ideas and motifs, sometimes in different directions, nudging the performance more solidly in the direction of free jazz. It’s not “free” on the level of an Ornette Coleman performance, leaving rhythm and melody behind—in fact, it’s solidly grounded in both. But you can feel the strictures of chord changes and meter slipping away as the band collectively pulls in multiple directions, their performance shaped only by the outline: fanfare, motif, melody, motif played in all twelve keys. Then “Resolution,” “Pursuance,” “Psalm,” each separated from the other by improvised interludes. Each of the main movements explores more of the uncharted spaces beyond the roadmap.

Sanders’ playing in particular is worth calling out. While his early solo records showed a saxophonist with a gift for melody who played in relatively conventional styles, in Trane’s group he was there specifically to play freely and further the search. And search he did. Both saxophonists explore the outer realms of the sounds that can be produced by their instruments, overblowing (blowing so hard that the reeds vibrate in such a way that a sound an octave higher is produced) and producing split tone sounds (generating multiple sounds at once). It can be bracing listening; it is undeniably new.

Listening to the album provides an additional perspective on the musical search Trane was perpetually on. Having foregrounded melody as well as his formidable technique, he was now exploring sounds beyond the normal, and performance modes that included elements of religious ritual, including shaken bells, ecstatic “speaking in tongues,” and trancelike rhythms. Put together, you get the ingredients of the next iteration of Trane’s “spiritual jazz” formation, which had by this point moved beyond composition and even beyond more mundane improvisational practices and was into a freer, more ecstatic place. We’ll continue to explore elements of spiritual and free jazz through recordings from Coltrane and his circle through the rest of this series, starting next week with someone who just missed inclusion on A Love Supreme.

You can listen to this album here:

John Coltrane, A Love Supreme

Album of the Week, March 9, 2024

Inside the gatefold cover of the John Coltrane Quartet’s early 1965 release A Love Supreme are two passages by Coltrane. One is an epistle from the saxophonist to the listener that is equal parts confessional and prayer. The other is a prayer to God. Both provide the missing ingredients that would tip the alchemical brew being created by the Quartet over into something legendary.

A while back, in a review of Steamin’ with the Miles Davis Quintet, I wrote: “Miles had struggled with heroin early in his career… Unfortunately, his saxophone player, John Coltrane, was still in the thralls of the drug, and left after these recording sessions for a period. He would get clean in 1957 (which is a story for another day) and rejoin the band in 1958.” In these liner notes, Trane writes: “During the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life… As time and events moved on, a period of irresolution did prevail. I entered into a phase that was contradictory to the pledge and away from the esteemed path; but thankfully, now and again through the unerring and merciful hand of God, I do perceive and have been duly re-informed of his OMNIPOTENCE… This album is a humble offering to Him. An attempt to say ‘THANK YOU GOD’ through our work, even as we do in our hearts and with our tongues.”

What is sometimes missed in the reading of A Love Supreme as gratitude is that Trane was giving thanks not just for one salvation but for two: the 1957 awakening that saved him from heroin, and an unnamed second event (or events) that helped him along the path. The album, therefore, is not a commemoration; it’s a practice of gratitude, and prayer, and an acknowledgement of the mystery of higher power.

Part of the power of A Love Supreme is that it retains the searching that is the core of Trane’s greatest work, rather than settling for simple praise. Indeed, “Part I: Acknowledgment” seems to be at once solidly in one key and in every key at once. It opens with a pentatonic statement from Trane and what appears to be a cluster of B major chords from McCoy Tyner under a flurry of cymbals from Elvin Jones and a bowed tonic drone from Jimmy Garrison. When Garrison enters a moment later, though, he drops down a fifth and plays the famous opening in F minor:

Trane enters on the fifth, still in F but now playing with mixolydian mode, and Garrison stays in this tonality throughout. Trane’s solo stays grounded here as well, though it does explore modal connections. At the end of his solo, he takes the passage up an octave, overblowing a bit to mark the top, then runs back down and scales up chromatically. He seems to bring his solo to resolution, but then at 4:58 in the track, something funny happens. Biographer Lewis Porter notes that the score for the work says, “Move in 12 keys — move freely in all 12 keys — solo in 12 keys.” And that’s what Trane does — he takes the four note motif and moves through all twelve minor keys as Tyner stays with him and Garrison stays grounded.

He then returns to the theme, and then something that had never happened in his work enters: we hear the sound of Trane’s voice, chanting “A Love Supreme” on the tune of the motif. There are fifteen repetitions of the motif in F minor, followed by four in E♭ minor, as the chanting fades out and Garrison plays a different but related motif, from the fifth up to the seventh and octave. According to Porter, the chant is an overdub, indicating again that Trane had a specific idea of how he wanted the performance to go and that he was looking for a particular conception. Trane seems to invoke a vision of a God who is everywhere at once, or of an angel looking in all directions at the same time yet is grounded in one place.

Garrison opens “Part II: Resolution” in E♭ minor, picking up the key from “Acknowledgement.” He uses a different technique here, sounding a chord on two adjacent strings at once to sound out something like a prophetic utterance. When Trane enters, he is in full apocalyptic mode, playing the melody four times and then yielding to Tyner for the solo. Tyner is in classic form here, soloing in different rhythms and exploring adjacent voicings as he drops bombshell chords with his left hand, all while Elvin Jones pours gas on the fire. Trane returns to state the melody but doesn’t really get a full solo here. While very much a piece of the whole, “Resolution” is the one movement that feels like it could be picked up and dropped onto Crescent or another mid-1960s Trane album. More than anything else this points out the consistent theme of searching that stretched from his early works through to the very end.

“Part III: Pursuance” opens with a propulsive Elvin Jones solo that breaks everything open, leading into Trane’s statement of the tune. Tyner again takes first solo, alternating between following Trane’s blues and quoting bits of the “Acknowledgement” motif. As Porter says, this quartet owned these high velocity treatments of the blues, and no moment represents that statement so much as Tyner’s alternate melody that he states just before Trane enters to take his solo. Trane is jet propelled here, keying off Jones’ fierce energy, and tireless; after two and a half minutes of his solo, he starts to overblow the reed, getting a mighty Pentecostal honk, before he and Tyner step back to let Jones’ volcanic energy erupt one more time, then fade back. Jimmy Garrison now takes a solo that recapitulates moments from both “Resolution” and “Acknowledgement,” eventually landing back in C minor.

“Part IV: Psalm” is many things: a culmination and coda of the suite; a free, melodic solo by Trane; and, in all likelihood (as documented, again, by Porter), a direct translation, note-for-syllable, of the poem that Trane places on the other side of the gatefold. It is at this point in the suite that the purpose of the ballad albums that the Quartet recorded from 1962 to 1963 becomes clear. Without that immersion in melody, “Psalm” (and its spiritual predecessor, “Alabama”) could never have happened. The quartet provides powerful accompaniment underneath Trane’s recitation, Jones on timpani, Tyner with washes of block chords, Garrison with a long subterranean rumbling. Trane concludes with a reading through the horn of the final words of his poem, “Thank you God. Amen,” and then a brief recapitulation of the opening flourish of the work.

One of the reasons that A Love Supreme still seems to connect with listeners all these years later is surely this combination of mystical reach and absolute accessibility. The “a love supreme” chant at the beginning is a prayer, a mantra, and a hook that catches the listener. Even without the words, the strongly rhythmic playing of Jimmy Garrison, in particular, throughout the album gives the listener something to catch onto amid the blistering improvisation coming from the quarter.

Regarding that second salvation event I mentioned earlier. While unclear whether it’s connected to Trane’s straying “away from the esteemed path,” in the summer of 1963 he left Naima, his first wife, and his adopted daughter Syeeda (born Antonia) and stayed “in a hotel sometimes, other times with his mother in Philadelphia. All he said was, ‘Naima, I’m going to make a change.’” Around this time, he met the pianist Alice McLeod, who shared his interest in spirituality, and their paths would remain connected for the rest of his life, both personally and in his music. We will hear more of her music later.

He was working with other musicians as well. In fact, on December 10, 1964, a day after recording the tracks that became this album with his Classic Quartet, he recorded it again, with the addition of second bassist Art Davis (last heard with the quartet at the Village Gate) and saxophonist Archie Shepp. Both are thanked in the liner notes for their work “on a track that will regrettably not be released at this time.” Shepp in particular would go on to be a part of Trane’s sound in the following years. And Trane would take A Love Supreme not as a finished blueprint, but as a starting point to build even higher and stranger things. We’ll start to hear that next week.

You can hear this week’s album here:

Postscript: Later in 1965, Franzo and Marina King heard Coltrane play “A Love Supreme” in one of a handful of live performances. It moved them so deeply that they established a church in their home city of San Francisco dedicated to the spiritual teachings of Coltrane, known today as the St. John Will-I-Am Coltrane African Orthodox Church, or simply the Coltrane Church. They’re still going today, and Trane’s “A Love Supreme” poem is their central text.

John Coltrane, Blue World

Album of the Week, March 2, 2024

Picture this: you are Michelangelo, on your way from carving David in Florence to respond to the Pope’s invitation to put up a fresco in the ceiling of the Sistine Chapel. But along the way, someone asks you to paint some scenery for a new theatrical production.

That’s not that different from what appears to have happened with Blue World, a “lost” Coltrane album which resurfaced in 2019, which consists of soundtrack recordings for the Gilles Groux-directed film Le chat dans le sac (literally, “The Cat in the Bag”)., and which was recorded on June 24, 1964, squarely between Crescent (April 27/June 1) and A Love Supreme (December 9). It’s tempting to view the album as a throwaway, especially since it consists of new versions of earlier works like “Naima,” “Traneing In,” “Village Blues” and “Like Sonny,” alongside the title track, the only new composition on the album. But it’s a recording of the John Coltrane Quartet, at the height of their powers, and so it still commands our interest.

Under any circumstances, it’s rewarding to hear Coltrane play his own ballads, and “Naima (Take 1), ” which leads off the album, is no exception. The ballad is played more or less straight in the arrangement that it debuted on Giant Steps, but there are some important differences. First, with McCoy Tyner on the keys, the piano accompaniment is much more free, filling in more of the texture under Trane’s melody. Where the original version pivoted cleanly between the keys of the tune, Tyner seems to play a kaleidoscope of chords that align along the path of the changes. He takes the solo as well, varying the rhythm, breaking into running eighth patterns and even briefly echoing “String of Pearls” at one point. Garrison and Jones keep the suspension of the accompaniment going, but at the point where Trane re-enters they collectively lock into a hemiola, a triple rhythm under Trane’s duple. It’s the same tune, they seem to say, but bigger things are afoot.

Trane’s “Village Blues,” of which three takes from the recording session appear on the album beginning with Take 2, first appeared on Coltrane Jazz, the follow-up to Giant Steps. It’s a blues in mixolydian mode, and Tyner explores and broadens the chord progression as Trane takes the solo. No sheets of sound here—the solo is melodic even as it reaches up to explore the outer stratosphere. Tyner takes a straightforward solo reading of the 12 bar melody to close out the short track.

“Blue World” is the new track on the album and it more than any other reveals the session’s place in Trane’s chronology. Jimmy Garrison opens with a bass solo that sketches out the barest hint of the mode, playing an octave leap down to a minor seventh. As important as the tonality is, the more significant thing that Garrison’s opening brings is a strong rhythmic drive, a pulse that grounds the explorations that follow. The formula of bass-led groove at the core of the composition would return on Trane’s next recording. Tyner joins after a few bars, completing the modal chord voicing, and then Trane enters playing a brief melody that feels like it was cut from an improvisation on “Lonnie’s Lament.” His solo begins melodically, and starts to climb for the stars, but instead of soloing entirely in the upper octave, he starts to explore the entire space of the music, diving down to the low octave before exploring on the same three-note grouping pattern he used at the end of “Autumn Serenade” (on John Coltrane and Johnny Hartman). When he returns to the melody, it’s as a signpost rather than closure; he continues to explore, digging into a chromatic exploration of time as Tyner provides a locked-in groove with block chords. Here Jones continually re-invigorates the music with a tumbling pattern on the drums that keeps things forward, until he bursts out as Trane reaches the coda. The whole thing is very much of a piece with the Crescent improvisations and gives more than a foretaste of what was to come next from the band.

“Village Blues (Take 1)” closes the first side. The quartet’s first approach at the tune features a little more improvisation around the statement of the melody and a much stronger voice from Elvin Jones, whose muscular statement of the rhythm emphasizes the syncopation in the tune and seems to egg Trane on into a more dramatic solo. Garrison has a more prominent part under Tyner’s solo verse on this version, leaning into the suspension. The same group dynamic seems to continue on “Village Blues (Take 3),” which opens side two. Jones here provides an even louder voice on the off beats, egging Trane on even as the saxophonist clings to a more melodic approach to his solo.

“Like Sonny” also hails from Coltrane Jazz, and the brief reading here is primarily notable for the full band exploration. Again Tyner provides fuller color, and takes the first solo with a primarily right-hand exploration of the tune. Trane joins in with what is almost a counter-melody played in the upper tenor octave, moving slightly away from the four-square rhythm under the quintuplet flourishes of the melody into something more waltz-like.

“Traneing In” is the oldest tune on the album. Originally recorded in 1957 for the album John Coltrane with the Red Garland Trio (which was later reissued in 1961 as Traneing In), that version began as a straight-ahead post-bop trio blues, with Trane not even appearing until a quarter of the way through the track. The version on Blue World opens with two Jimmy Garrison solo verses, offering a chance to hear Garrison’s rhythm, melodic imagination, and sense of drama (the chords at the end of each solo verse are especially juicy). After seeming to hover in the relative minor, when Tyner and Jones join the key coalesces back to the starting key of B♭ major. The trio takes a verse and only then does Trane join in. In contrast to his earliest solos on the tune, he stretches out the tonality, reaching down into other modes and pivoting into a different rhythmic structure before stretching into some overblowing and finally bringing the tune to a stop, having completely revolutionized it over the course of about two minutes and 40 seconds.

The final track, “Naima (Take 2),” starts very similarly to “Take 1.” The biggest difference is Elvin Jones, who is much more prominent in this take than the prior one, and who brings forward the triplet feel that characterized the back half of “Take 1.” Trane signs off his statement of the melody with a downward arpeggio down to the third, and Tyner picks it up. In both takes, Tyner’s solo feels almost double time, and this continues when Trane re-enters, with Jones really bashing the triplets throughout. When Trane transitions out of the bridge into the last recap of the melody, the feeling reverts to that more oceanic ballad tempo, but Jones gets the last word with a final crash and roll as if crashing that slow wave onto the shore.

Blue World is a fascinating document—having almost been lost to history, it reveals an important connection point between Trane’s earlier compositions and what was about to come. It also shows a quartet at the height of their telepathic connection, with their improvisations coming together to create something much bigger than the sum of its parts. The group’s telepathy would stand them in good stead on their next album; we’ll hear that next time.

You can listen to this week’s album here:

John Coltrane Quartet, Crescent

Album of the Week, February 24, 2024

After a European tour, the blistering Live at Birdland recording, and a little downtime, Trane and his quartet entered Rudy Van Gelder’s studio in Englewood Cliffs for a new recording session on April 27, 1964, with a subsequent one following on June 1. Unlike the prior session with Johnny Hartman, and the two studio albums preceding it, these sessions contained nothing but Coltrane originals. But, perhaps unlike the earlier sessions featuring Trane’s writing such as Giant Steps, these new sessions were infused with a deep sense of melody and a searching new tone.

The core inside these recordings arguably stretches back to Trane’s prior album, the misleadingly named Live at Birdland. Three of the tracks came from a live session recorded October 8, 1963 at the Birdland Club, but two were recorded on November 18 in the Van Gelder studio, and one of those tracks was “Alabama.” Trane’s memorial for the victims of the 16th Street Baptist Church bombing, which had happened just 63 days prior, has a darkness and intensity to it that repays repeated listening. Like his arrangements of “My Favorite Things” and “Greensleeves,” there is a modal core to the performance, but unlike those there is a depth of melodic line and searching that calls back to the ballad albums before. Suddenly the elements of the quartet — Elvin Jones’ explosive energy, Jimmy Garrison’s ascetic, precise, suspended bass lines, and McCoy Tyner’s block chords — gel around Trane’s sound to make something deeper and more … well, spiritual.

The phrase “spiritual jazz” was coined to describe the sound coming from Trane’s quartet at this time, and while it may smack uncomfortably of marketing, it’s not wrong. Trane is searching in these recordings for something that seems just out of reach, but when found brings a sense of deep joy.

“Crescent”’s opening seems to encapsulate that search, as Trane conjures the melody out of a storm of clouds and a string of chords. While the chords of the tune come slowly, they are placed precisely, as though Trane and the band are carving them from stone. The solo has blistering runs, but also short passages of melodic variation so intense that Tyner drops out for a bit to give him more space. In some of the passages you hear Trane overblowing the horn, reaching beyond the normal tones of the saxophone into squeaks and smears and shouts of sound. Just as the tenor seems to have found a new shore, the band re-enters for a restatement of the opening, and where the first statement felt emergent, the reprise feels deliberate, a statement of affirmation, of discovery.

“Wise One” is a ballad in a minor mode, opened by Trane with a reflective solo taken out of time. McCoy Tyner picks up the tempo as the verse begins; his solo vamps in and out of the mode while Garrison plays suspensions on the fifth and octave and Elvin Jones provides a running pattern of regular eighth notes on the cymbals and syncopated hits on the tom. Trane picks up Tyner’s modulation when he picks up the tune from the middle eight, and then returns to the minor mode to close. It’s a stunningly reflective and lovely performance.

It’s ironic that “Bessie’s Blues” is the brightest, most uptempo work on the record, while maintaining the blues form. It’s also by far the shortest and happiest-sounding. Trane explores a set of different modes as he improvises, moving in and out of the chord structure so that Tyner lays out during the solo to give him the harmonic freedom to explore. The whole thing is loose and fun and has the feeling of something that emerged spontaneously in the studio, but in fact it is the second take of the tune, coming from the June sessions; the first take from April 27 wouldn’t appear until the 1998 Complete Impulse Recordings.

“Lonnie’s Lament” feels like a continuation of “Crescent,” which is more to say that Trane and his group were in a consistent mood for this album than to say anything about the melodies per se. The actual melody is nothing like “Crescent, “ but both open with a slow moving minor-key melodic line. Interestingly, “Lonnie’s Lament” came first, originating in shows that the Quartet played in late 1963, and its melody most closely shows the influence of the process that led to “Alabama.” The band follows Trane’s mood, staying subdued throughout the tune, pausing on the suspension that leads into the last corner of the melody, then charging ahead with a melodic bass solo from Jimmy Garrison, who seamlessly interchanges ideas with McCoy Tyner, soloing primarily in the right hand, then punctuating with big block chords in the left. Tyner’s solo takes off into a more rhythmic exploration of Trane’s melody, seamlessly passing to Garrison for an extended solo in triplets alternating with syncopated, loping steps, then transitioning into a freer rhythmic exploration of the tune. His solo here establishes him firmly as an equally contributing member of the quartet, with his distinctive contribution being the sense of space that he introduces throughout the solo. Trane takes no solo, returning to restate the melody at the end over rolls of thunder from Elvin Jones.

Jones, appropriately enough, opens the last track on the album, “The Drum Thing,” with a pulsing rhythm on the toms and bass drum, punctuated by a repeated bass pattern from Jimmy Garrison, an eighth-note upbeat on the fifth of the scale followed by a quarter on the upper tonic, repeating with the last upper tonic held as a dotted quarter. It’s hard to write it out, but you might vocalize it as “da-dum-da-dumm.” (You might also think it presages another famous bass melody in Trane’s work, and you’d be right, but that’s a story for another time.) Here it stays in the background as Trane enters, improvising a melody around the inverted fifth as Jones steps forward, playing a truly thunderous, explosive melody against the bass ground and exploring different timbres in the kit. He returns to his original pattern as Trane re-enters on a major key inspired version of the opening melody that modulates back to a recapitulation. The heartbeat carries throughout until the end, and it draws to a sudden close as if the only way to stop it was simply to stop.

There are multiple threads that come together in an ingenious, absorbing way on Crescent: the dark, mournful balladic melodies previously heard in “Alabama,” a new sense of space in Trane’s performance, a greater sense of independent voice from the other quartet members combined with some truly telepathic moments. It’s a brilliant record that deserves to be better known. Only the even greater brilliance of its successor stands in the way of that broader recognition, and we’ll hear why in due time. Next week, though, we’ll hear a little of what Trane and his group got up to in mid-1964.

You can listen to this week’s album here:

John Coltrane, John Coltrane and Johnny Hartman

Album of the Week, February 17, 2024

When I was in high school, I knew that I wanted to have a tenor voice. My dad had a beautiful tenor voice that could ring the room. I listened to a lot of Sting, whose tenor voice seemed to dwell perpetually in a higher octave (and whose songs garnered me some much welcomed attention when I performed them). … And then l went to college and picked up John Coltrane and Johnny Hartman at Plan 9 Records, and decided maybe being a baritone was more desirable after all.

Coltrane and Hartman had both played in Dizzy Gillespie’s band in the late 1940s, but their time didn’t overlap; they shared a stage once in Harlem at the Apollo Theatre in 1950; but it’s still not known exactly how the singer came to Coltrane’s attention. But Trane has told us why he recorded with him. The Paris Review recounts a 1966 interview with the saxophonist, who told the interviewer, Frank Kofksky: “Johnny Hartman—a man that I’d had stuck up in my mind somewhere—I just felt something about him, you know, I don’t know what it was. And I liked his sound, I thought there was something there I had to hear, you know, so I looked him up and did that other one, see.”

That sound, incidentally, might be better thought of as crooning than jazz vocals. Colgate University professor Michael Coyle places Hartman in the crooning tradition, as a follower of Bing Crosby and Rudy Vallée, and points out his innovation was the ability to stretch the melodic line, introducing space and drama into the melodies. I dispute the point a bit—Hartman’s tone is solid and his control is completely impeccable—but there’s no doubt he’s a much more subtle singer than the performers who came before him.

That point is brought home in “They Say It’s Wonderful,” the first track on the album. After a brief introduction from McCoy Tyner, Hartman sings “They say that falling in love is wonderful.” But that quote is insufficient to convey the subtlety of his phrasing, as he leans on “say,” ever so briefly pauses after “that,” elongates “love,” and diminuendos ever so slightly on “wonderful” while still holding the note, creating a suspension on the seventh of the chord and making you hang on his words to hear what comes next. It’s a masterclass in vocal control, and it’s just the first phrase. Trane stays under Hartman’s line, providing accents at the end of lines but otherwise staying out of the way. When he takes a solo, he picks up some of the vocal inflections and phrasing of the singer, elaborating them a little with some of his characteristic flourishes but mostly staying in the pocket. While there are traces of the technically brilliant sheets of sound, they’re constrained within the boundaries of the melody, serving as accents rather than the main thrust of the sound. Hartman returns for a tag of the bridge and takes a breathtaking break in the rhythm, seeming to soar weightless over the band for a moment.

Hartman opens “Dedicated to You” with a simple declaration of the first quatrain of the melody, and Trane picks it up, playing the rest of the verse as a straight melody. At almost exactly the halfway point, Hartman picks it up seamlessly, singing it straight until the coda when he repeats the words “dedicated to you” as an out-of-time riff. It’s a sincere and simple, but not simple-minded performance. “My One and Only Love” is flipped around, with Trane taking the first verse with the quartet, taking a rubato measure to close the melody out, then inserting two bars in which the band seems to hover over a suspended fifth in the bass. Hartman enters after that moment of suspension and seems to restart all the clocks, taking the verse in time and stretching the meter in the final chorus just ever so slightly. The band returns to the suspended chords for a final two measures before resolving the tune.

“Lush Life” was reportedly a late addition to the track list; apparently Trane and Hartman were on their way to Rudy Van Gelder’s studio in a car when Nat King Cole’s version of the tune came on the radio, and Hartman decided on the spot to perform it. Trane of course had performed the tune years before, but you can definitely hear traces of Cole’s version in Hartman’s brisk introduction, which moves unsentimentally through the verse, accompanied only by Tyner, until he sings “washed away/by too many through the day” and holds “too” for an extra beat or two, accentuating the melancholy under the surface joys of the lush life. When the chorus begins, the rest of the quartet joins but stays in the background. Garrison’s bass spells out the roots of the chords and accentuates the changes with subtle arpeggios, and follows Hartman’s chromatic ascending scale on “those whose lives are lonely too”; Tyner continues the ascending scale after Hartman stops and Trane picks up the solo seamlessly, playing a breathless double-time through the melody until he gets to the final chorus, when Hartman rejoins to close it out. It’s a briefer version of the tune than Trane’s 1958 magnum opus but seems to hit all the high points.

Famously, Hartman claimed that the whole album was recorded in a single take, except “You Are Too Beautiful,” which had to be restarted when Elvin Jones dropped a brush. It’s a great story, if untrue (alternate takes are available for each track). The Rodgers and Hart tune gallops all over the octave, but Hartman makes it seem easy. Tyner gets the solo, playing through the tune as a syncopated stretto against Jones’ shuffle until the final four bars when he matches velocity with the main tune once again. In the reprise, Hartman’s careful use of legato is apparent in the first phrase, where he enters from above and uses a little melisma around the edges of the tune; his final phrase holds the supertonic just long enough for you to notice before he resolves.

The final track is, as far as I know, the only rumba that the classic Coltrane quartet ever recorded, so of course Trane deconstructs it in his solo. “Autumn Serenade” opens with the bass doubling Tyner, playing a rumba rhythm under Hartman. When Trane joins he turns the melody into a series of cascading sixteenth notes in groups of three, pausing between each and playing with the modal melody. This is the one place on the album where you can hear some of Trane’s searching runs, and the end of his solo feels as though it could keep going on that search forever, but he pulls back just enough. At the end, Hartman sings “serenade” and holds the top note while Trane plays a few more of the trios of sixteenth notes, as though turning away from the resolution to continue the search.

John Coltrane and Johnny Hartman was the third of Trane’s great ballads albums of the early 1960s, following Duke Ellington and John Coltrane and Ballads. Whatever the great saxophonist felt he had to prove to his critics or to himself, he appears to have done it with this album; the following recordings would return to some of the wilder searching we heard on Evenings at the Village Gate, but with a new sense of melodic core. We’ll hear one of the first outings of this next phase of Trane’s career next time.

You can listen to today’s album here:

John Coltrane, Ballads

Album of the Week, February 3, 2024

John Coltrane appears to have taken the criticism of his avant-garde work in the early 1960s to heart. In fairness, being called “anti-jazz” cannot have been good for the tenor’s ego. But Trane was self-aware enough about his work, and conscious enough about his progression as a performer, to have taken a more deliberate step into a different sonic world on this album. Or, as he told critic Gene Lees (as told in the liner notes to this album) when he asked why the change in sound, “‘Variety.’ Meaning a change of pace. And perhaps he wanted to apprise [sic] those who haven’t discovered it [sic] that he can be lyrical.”

Whatever the reason, Ballads is about as lovely and straightforward a reading from the Great American Song Book as you’re likely to find. Recorded in three sessions beginning December 21, 1961, about six weeks after the final recordings at the Village Vanguard that yielded Live at the Village Vanguard and Impressions and still featuring Reggie Workman on bass, and continuing into late 1962 (with the classic quartet featuring Jimmy Garrison, McCoy Tyner and Elvin Jones), the sessions interleaved with recordings for other projects, including Coltrane, Duke Ellington & John Coltrane, and some of the studio recordings for Impressions. Legendarily, the quartet walked into the sessions with a pile of music-store sheet music for the songs, never having played any of them before. Overwhelmingly, the impression is of Coltrane treating his saxophone like a voice and his solos like song.

“Say It (Over & Over Again),” a Jimmy McHugh classic, sounds superficially in arrangement like the ballads we’ve just heard on McCoy Tyner’s solo albums, but listen closely and there are cues that Trane is still at the wheel. The suspensions in the pedal bass through the verse, the restraint of the group’s sound overall even as Tyner brings a gentle glissando through the middle of his solo, the opening feels tentative and even a little melancholy. But then comes the key change in the bridge and suddenly there are echoes of some of the soloistic choices on Coltrane’s Sound. The saxophonist’s solo trails off, as if in a reverie, and Tyner follows.

“You Don’t Know What Love Is,” by contrast, brings some of the energy in the reading of the head that Trane used in My Favorite Things. But while the vocal sound of the track is full and warm, he keeps the pyrotechnics hidden away in favor of a straightforward reading of the tune. Not to say it’s boring. The syncopation he brings in the major-key middle eight of the tune, the explosions from Elvin Jones’ kit, and most of all the modal rocking in the piano as the group transitions out of the head and into the first solo all place this in the lineage of “My Favorite Things” and “Greensleeves.” Trane’s solo gets more impassioned, bringing bursts of sound from Jones, but then he reels it back in on the final statement of the head, with only (only!) one final octave jump and descending arpeggio to hint at the pathos of the tune. By comparison, “Too Young to Go Steady” is a cheery, straightforward reading of the Jimmy McHugh tune made famous by Nat “King” Cole. Only Jones’ slightly wide-eyed double-time snare work hints at anything more than the tune itself. You’d never know the tune was written (by Gene DePaul, lyrics by Don Raye) for an Abbott and Costello film.

Jones kicks off “All or Nothing At All” with a full kit workout that leads into a modal bass line and comping piano chords. Lees’ liner notes indicate that Trane was trying for an Arabic feeling in this cover of the Arthur Altman tune, and there’s certainly more development in the solo, with hints of the “sheets of sound” glissandos at phrase ends and in the minute-long outro. But where earlier recordings might have had those glissandos climbing for the stars, here they seem to turn inward as the track gradually fades out. It’s another one where you get a sense of the Coltrane of “My Favorite Things” waiting in the wings, but he never quite steps into the spotlight.

Harry Warren’s “I Wish I Knew” gets a quiet and contemplative treatment. Both Jones and Jimmy Garrison are relatively restrained in their accompaniment, while Tyner shows his well-earned reputation for elegance in his brief solo. Trane plays a little with the time in the return of the head, but otherwise plays it absolutely straight. The finest moment of the arrangement might be the two arrivals of a new key in the coda, hinting that the band might just explore the tune forever if you let them.

Bob Haggart’s “What’s New” is given a full verse intro by Tyner playing solo, before Coltrane joins on the melody. While the overall tempo is subdued, Jones keeps just enough pots boiling on the kit that things continue moving into the solo, where Coltrane picks up the energy as well. The band ramps things down almost as quickly as they start. “It’s Easy to Remember (But So Hard to Forget),” a Rodgers and Hart classic, follows closely behind. The only track from that 1961 session on the record, and the only one featuring Reggie Workman, the sound is remarkably of a piece with the rest of the album. Trane perhaps incorporates a little more flourish into some of his playing in the middle chorus, but it’s otherwise a concise statement of the tune, given presence by an Elvin Jones roll of thunder at the end.

Jimmy Van Heusen’s “Nancy (With the Laughing Face)” was originally recorded by Frank Sinatra in 1944 and is named after his daughter, but there are no boots, made for walking or otherwise, in Trane’s treatment of the tune. Trane’s saxophone seems to breathe like a singer, achieving an almost vocal tone. Garrison’s bass is a subtle accompaniment throughout. The band picks up the energy a little in the second bridge, but ultimately closes the tune, and the album, as gently as it started.

Ballads accomplishes its goal of showing a different side of Coltrane. He trades flashy technique for constrained intensity and achieves a different kind of mastery of his instrument in moments like “You Don’t Know What Love Is” and “All or Nothing at All.” Compare the performance to some of Trane’s earlier ballad work, for instance on Lush Life—there’s many fewer notes here, saying just as much if not more. By subtracting some of the complexity of the earlier performances, Trane seems to gain depth and intensity in each of the notes he does play. We’ll continue in this vein with another album from his band next week.

You can listen to today’s album here:

John Coltrane with Eric Dolphy, Evenings at the Village Gate

Album of the Week, January 20, 2024

In the early 1960s, John Coltrane’s studio recordings were expressive and harmonically innovative, but still followed a recognizable jazz form: statement of the melody, or head; solos that were structured around the chords of the melody; a recapitulation of the head. But other musicians were starting to innovate on that form, moving away from the structure of playing over the chord changes. Miles moved to improvisation over modal scales, as we’ve seen. And other musicians went even further, rejecting consistent chords in favor of more unlimited explorations. Ornette Coleman’s 1960 album Free Jazz gave the movement a name, and others explored its ideas. One of the most promising of them was saxophonist and flautist Eric Dolphy. And when Dolphy met Trane, it changed the older composer’s trajectory.

Trane and Dolphy had met years previously in Los Angeles, and when Trane began performing in New York in the summer of 1961, he invited Dolphy to join his group. Additionally, his group included two bassists; Trane liked the freedom the second bass offered to have both a constant “ground” or repeated fundamental note in the chord, while the other bassist was free to be a more melodic voice. So the group included Dolphy, Reggie Workman (who had replaced Steve Davis), Art Davis, and Elvin Jones and McCoy Tyner from Trane’s quartet, last heard on Coltrane’s Sound.

Until recently, the main documentation for Trane’s New York sessions with Dolphy consisted of recordings from his residencies at the Village Vanguard in the fall of 1961, including 1962’s Live! At the Village Vanguard and half the tracks on 1963’s Impressions; both recordings have Jimmy Garrison replacing Art Davis. But last year a recording was found at the New York Public Library of an earlier residency, from July 1961, at the Village Gate. The recording shows off Trane’s emerging free concept at a transitional moment. Much of the repertoire is familiar from his 1961 releases, but the performances are very different.

Where the studio version of “My Favorite Things” begins with a modal progression and a clear statement of the theme, this live version jumps right in with an extended Eric Dolphy flute solo. It’s actually not clear from the recording whether the song begins here or if the recording started after the statement of the theme, but he improvises for an extended period over the minor chords of theme, eventually coming into a statement of the second eight bars of the melody (ending in “these are a few of my favorite things”) before entering another extended improvisation. He finally brings this solo to a close some six minutes in, and Trane steps up on soprano sax, stating the theme before signalling the beginning of his improvisation with a sustained blast on the tonic. His solo hugs the high end of the range, stretching out the ideas in his solos on the studio version. A phrase that might have occupied a measure or two on My Favorite Things here gets extended to 16 or 32 bars, with Trane continually extending and searching forward. Beneath the solos, Elvin Jones continually propels the beat forward. On this archival recording live recording, the bass is less audible than if Rudy Van Gelder were taping, but you can hear both the constant ground and the melodic improvisation of the two players.

“When Lights are Low” has both a straight version of the melody and a keening dervish-like improvisation from Trane’s soprano sax. Dolphy anchors the low end of the line with his bass clarinet, underpinning the dizzying improvisation of Trane’s soprano sax with an earthier tone. Tyner gets a solo that sounds more conventionally structural than anything else in the 80 minute long set, but which is almost as equally searching within the limits of chromatic tonality as some of Trane’s Pentecostal honks. Throughout, Jones continues to drop explosions. I once saw the Elvin Jones Jazz Machine in Old Cabell Hall at the University of Virginia, in 1993; at the age of 66, he was easily the most muscular and dramatic player I saw that weekend, and you can hear his work throughout this set.

“Impressions” is a track that Trane never released on a studio album; the only two studio recordings extant weren’t released until 2018—but the many live performances he did often featured the track, including its appearance on the 1963 half-live album that is its namesake. Here the track has all its hallmark features—the use of the “So What” chords, especially the uptempo live version that Miles preferred and that features on the Live in Copenhagen recording. Trane takes a shorter solo here and lets Dolphy and Tyner explore the sounds before stepping back up to close out the tune. It feels more formal and less wild than the version from Impressions, recorded just four months later, but the seeds of the approach were clearly already planted.

Trane finished the set with “Greensleeves” and “Africa,” both of which featured on his Africa/Brass album, which was still about six weeks from release at the time of these sessions. “Greensleeves” feels a lot like the “My Favorite Things” arrangement, anchored in a modal two-chord pivot that Tyner keeps going throughout the arrangement, but made wild and new by Trane’s explorations. Dolphy is mostly in the background on bass clarinet for these cuts as Trane explores the sound being created by the group. When the horns drop away, leaving a Tyner-anchored piano trio, it’s almost a shock, even as Tyner’s powerful clustered chords keep the momentum of the full band track going. “Africa” is a wilder, looser tune, less anchored in chords and more a free modal exploration. It also features the one part of the set where you can clearly hear what Reggie Workman and Art Davis were up to, in an eight minute long duet. Workman’s melodic playing explored the upper end of the instrument’s register before finding a rhythmic dance against percussive string slaps and a grounding thrum from Davis. Jones takes center stage as well, dislodging the pulse in space and time, before Dolphy and Trane return for a final hurrah—and applause from what sounds like a small audience in the club.

Trane’s group with Dolphy would last almost through the end of the year. Ultimately Dolphy moved on to play with Charles Mingus, where he could play a more central role in the sound of the group; Reggie Workman would move on as well following a European tour. Ultimately Trane found a mixed reception for his experiments with Dolphy, with some critics calling the sound “anti-jazz.” He would regroup in the following year and take his sound in another very different direction. Before we check in on the outcomes of those explorations, though, we’ll listen a little more closely to what some of his sidemen were bringing to the table.

You can listen to this week’s album here:

John Coltrane, Coltrane’s Sound

Album of the Week, January 13, 2024

John Coltrane’s stay on Atlantic Records, which started with a bang with Giant Steps, was ultimately brief. Signed in 1959, he recorded Steps, an excellent follow-up (Coltrane Jazz), and then a blockbuster (My Favorite Things) in the span of about 15 months… while also touring with Miles’s quintet (the tour which yielded the Copenhagen performance we’ve looked at recently). My Favorite Things was a hit, yielding the enduringly popular modal version of the Rodgers and Hammerstein title track, which recasts Julie Andrews’ “whiskers on kittens” into a modal exercise in musical ecstasy that calls to mind nothing so much as qawwali chants (about which, more later).

Several things happened as a result of Trane’s rising popularity. First, even before the release of Things in March 1961, Trane’s previous label Prestige Records realized they had hours of recordings by Trane in the can. They began packaging those sessions for re-release, and issued a series of records under Trane’s name but without his approval. (The series began with Lush Life, released shortly before Things in February or early March 1961.) The second thing was that Trane came to the attention of a young Creed Taylor, who had established the Impulse! Records label the year before. Impulse bought out Trane’s contract in May 1961 and he began a historic association with that label after recording one more session for Atlantic, which yielded Olé Coltrane.

Not to be outdone by Prestige, Atlantic followed their playbook and issued their own set of unauthorized Trane albums, assembling them from unused recordings from the sessions for the earlier albums. Coltrane Plays the Blues was the first to be released, in 1962. The second was Coltrane’s Sound, released in the summer of 1964. The album, recorded during the My Favorite Things sessions in October 1960, featured the earliest stable incarnation of the classic John Coltrane Quartet, with McCoy Tyner on piano, Elvin Jones on drums, and Steve Davis on bass. Jones had come to Trane’s band earlier in 1960, following time in Sonny Rollins’ quartet. Tyner had been friends with Coltrane for years, both hailing from Philadelphia, and also joined in 1960. Davis was Tyner’s brother-in-law and had joined the band for the My Favorite Things session. The checkered history of this album aside, it plays like a coherent concept from start to finish, wrapped in an unusual painted cover by Marvin Israel, Atlantic’s art director at the time (who must have liked the technique he used for the cover; he used it again for albums by Sonny Stitt, Charles Mingus, and Milt Jackson).

“The Night Has a Thousand Eyes,” composed by Jerry Brainin, opens the album with a bold, major key statement. Trane blows the head melody over a percolating accompaniment from Tyner and Jones; Davis keeps the tune rooted, alternating between a walking bassline on the B section and a suspended D (a fourth down from the tonic) on the A section. Trane’s solo is classic “sheets of sound,” but with a greater emphasis on melodic development. Tyner’s, by contrast, leans into the chords percussively, sounding a distinctly different approach to the melody. Where Tommy Flanagan sometimes kept himself elegantly in the background on Giant Steps, Tyner’s melodic development and forthright chords announce him as an equal partner in Trane’s overall sound. Throughout it all, Jones matches Tyner’s percussive power, delivering bursts of sound on off beats and generally throwing gasoline on the collective fire. And yet, despite all the collective propulsion, the track also reads as a happy melody. It’s a neat trick that Wayne Shorter would nick years later for “Yes and No” on his album Juju.

In the liner notes to the album, jazz critic Ralph Gleason notes that Cannonball Adderley recounted a conversation between Trane and Miles in which Miles asked him “Why you play so long, man?” and Trane responded, “It took that long to get it all in.” As if to refute that earlier conception of jazz, as well as Gleason’s note that there are “those who claim that he will not play ballads,” “Central Park West” is a laconic ballad of Trane’s own composition, featuring an unhurried melody over a meditative set of chord changes. In addition to featuring Tyner’s most outstanding moment on the record in the introduction to his solo, the work also features some truly gorgeous, delicate playing from Trane on soprano sax, as well as the rest of the quartet.

The mood shifts as the quartet plays the opening notes of “Liberia” over a thunderous roll of Jones’ drums. The tune, another Trane composition, is in the same mode as Dizzy Gillespie’s “Night in Tunisia,” and bears other similarities — right up until the point where Trane enters the B part of the head, transforms the tonality into a different mode, and starts stretching up. The rest of his solo is played as a series of attempts to take flight and scale beyond the limits of the tune. It’s a scorcher, and it points the way forward to where Trane would be going in just a few short years.

The second side opens with the other cover on the album. Tyner opens Johnny Green and Edward Heyman’s “Body and Soul” with a modal chord progression that seems to hang Trane’s melody in the storm tossed air, a ray of light through the clouds. Here Coltrane’s ballad playing is a little more loquacious than on “Central Park West,” but still has that note of yearning. McCoy Tyner’s solo is sketched out in block chords in both hands for the first chorus, then shifts to a more melodic approach in the right hand. In the bridge he shifts to playing triplets for a few bars, responding to some of the rhythms introduced by Elvin Jones underneath. Jones’ playing deserves its own paragraph. No mere dusting with brushes here! He provides a counter-rhythm to Tyner’s strong rhythm in the block chords, complete with small explosions of sound as the tune shifts from chorus to bridge. At the end the entire rhythm section is in rhythmic unison under Trane’s unexpectedly tender closing.

The opening of “Equinox” features more of the rhythmic interplay between Tyner and Jones. The pianist’s four-square chords, doubled by Davis, are filled in by Jones’ counterpoint in an eight-bar intro. The band then shifts into eight bars of a syncopated blues rhythm on the tonic chord before Trane enters, blowing the blues. As with “Central Park West,” the opening statement is almost terse, but Trane’s first solo opens up the top end of the scale and begins to hang sheets of sound across the chords. In the fourth chorus we begin to get more of Jones’ rolling thunder, but it’s drawn back as Tyner hits gentle notes under Trane’s final bars. Tyner’s solo opens again with block chords, here less pounding and more tender. He plays with the rhythm of the blues as well as with the melodic center, introducing countermelodies centered on the sixth and seventh degrees of the scale, then launches runs of triplets that seem to take flight like birds. His final chorus is almost entirely on the tonic chord, a neat trick that refocuses the tune into the ominous storm clouds.

Trane returns to the pianoless trio form for only the second time (after “Lush Life”) on “Satellite.” The sax and bass sketch out the melody in a square quarter note rhythm, but Trane is quickly in flight over the walking — running, really — bass line and the rollicking cannon fire laid down by Jones on the drums. While the changes bring “Giant Steps” to life, the overall impression is more playful as the trio springs from melody into shimmering exploration and back. Even without Tyner, there’s no mistaking Trane’s approach here, a sort of joyous exploration of the possibilities of the sound of his new small group.

The group with Davis was short lived, and there will be a different bassist in the chair (or two!) when we listen to the next Trane album. But the sessions recorded by this formation stand as high points in Trane’s early output, even as he was already restlessly moving beyond this sound. We’ll be in a very different place next week.

You can listen to today’s album here:

Joe Farrell, Outback

Album of the Week, May 20, 2023

Spoiler alert: As we’ll go deeper into the CTI Records discography, we’ll get to a point where a lot of the music will start to meld into a sort of jazz-funk-crossover soup, thickened by a hefty dose of Don Sebesky strings and crossing more and more into pop music. Inevitably it will happen to most of the artists that we will review on this label, buoyed along by the striking success of the CTI sound. But right now, we’re in 1972, releasing a record that was recorded in November 1971, and the transformation hasn’t happened yet. Instead, we still get thunderbolts of genius, like Joe Farrell’s second album for the label, Outback.

Again, as with Joe Farrell Quartet, part of the credit is due to the superb players that make up Farrell’s group. As we discussed last time, Farrell spent time playing with both Elvin Jones and Chick Corea, and both return the favor here, alongside bassist Buster Williams and the indispensable Airto on percussion. The quartet is tight and the music they make is simultaneously tuneful and eye-poppingly adventurous.

We get more of the latter on the first side of the album, which opens with the title track, the John Scott-penned theme to the dark Australian movie Outback. Here the morally ambivalent atmosphere of the film is evoked in the swirling flutes over Williams’ freely walking bass, before Jones’ drums bring us into a more normal time accompanied by a wide-ranging bass line and Corea’s accompaniment on the Fender Rhodes. The chords swirl in a minor mode, with the flute rising to a feverishly high solo, accompanied by the full band who lock in telepathically behind Farrell. Corea moves us forward with statements between the verses, but the focus remains on Farrell as he improvises wilder flights, with Jones staying uncharacteristically subtle in the background on toms and brushed cymbals. It’s a moving, meditative and genuinely exciting journey.

The adventure continues with “Sound Down,” one of two originals on the record. Here Farrell and his wife Geri craft a tune that tilts between a modal statement in 4/4 and a waltz in a more conventional major key. But the modal wins and Farrell is off to the races on soprano saxophone, sounding a bit Wayne Shorteresque on some of the flights. When he shifts rhythmic patterns, Chick Corea is right there with him, zig-zagging across small explosions from Elvin Jones and over the steady heartbeat of Williams’ bass. Chick’s solo, starting just before the four-minute mark, is a right-hand improvisation that picks up some of the modal energy of Farrell’s solo but grounds it in a more persistently major tonality, returning to the mode only at the end with a series of ascending chords that fade out, letting Williams take a breath and explore some differing rhythmic patterns in dialog with Jones. Farrell returns at the end to restate the tune and turn the solo back to a major key.

“Bleeding Orchid,” a Chick Corea composition, opens the second side in a moderately Spanish groove, with a melody that grows from a melancholy minor into a more optimistic major key. Farrell’s solo, again on soprano sax, trades thoughts phrase by phrase with Corea, who seems completely intertwined with the saxophonist’s thoughts. Jones provides a huge voice on the drums on the solos, falling back at the restatements of the theme, and Williams’ constant explorations around the tonality make him the quiet hero of the track.

“November 68th” concludes the album, with a modal workout in 6/8 that somehow manages to evoke “Ju Ju” era Shorter and Coltrane’s “My Favorite Things” in equal measure. Farrell’s other original composition on the album, the track provides him with a prominent soapbox on tenor sax. Here, again, Jones and Williams anchor the soloist, augmented by Airto, as Corea chases Farrell throughout the track. Chick’s solo swings harder than Farrell’s free flights but still has its own moments of brilliance, including a polyrhythmic moment that seems to stop time partway through the solo. As Corea, then Williams fall back, Jones takes a solo that seems to rise and fall like the saxophonist, double-timing the underlying pulse of the track and then dropping back into a one man polyrhythm. When Williams’ searching yet perfectly metrical bass returns, the rest of the band follows for a final statement of the melody followed by a fierce blowout at the end.

The whole album is stunning, a lesser-known but high quality gem. Farrell was to continue in this vein of tightrope-walking free jazz for one further album on CTI before shifting gears; we’ll get to that album in a few weeks. But we’ll check in on a couple of his labelmates first.

You can listen to the album here:

Duke Ellington & John Coltrane

Album of the Week, November 19, 2022

Duke Ellington’s run of albums for Columbia Records in the mid to late 1950s was spectacular. In addition to Masterpieces by Ellington, Ellington at Newport, Black, Brown and Beige, and Ellington Indigos, the run also included such classics as Ellington Uptown, A Drum is a Woman, Such Sweet Thunder, Jazz Party (featuring the debut of the Billy Strayhorn tune “U.M.M.G.”), and the soundtrack to Anatomy of a Murder.

However, by 1962 his contract with Columbia had come to an end, and in a way this ushered in an even more significant period in Ellington’s development, as he began to record sessions for other labels with an array of artists. From this period came his great collaboration with Max Roach and Charles Mingus, Money Jungle, and two collaboration albums on Impulse! Records, Duke Ellington Meets Coleman Hawkins and Duke Ellington & John Coltrane.

It’s worth pausing for a second to acknowledge that we have stepped into the timeline of Impulse! Records. One of the undisputedly great jazz labels alongside Blue Note and Verve (and later, CTI), Impulse! was established in 1960 by producer Creed Taylor, who may be the most significant contribution to jazz music to have come from Pearlsburg, Virginia. At Bethlehem Records, his first recording, a session backing vocalist Chris Connors with Ellis Larkins’ piano trio, earned him the position of head of A&R for the label. He parlayed this brief but successful stint into a role at ABC-Paramount, where he created Impulse! as a subsidiary label with the tagline “The New Wave in Jazz.” Creating immediate success with records by Gil Evans, Kai Winding, Ray Charles, Oliver Nelson and others, Taylor’s lasting accomplishment was to sign John Coltrane to the label in 1960. Due to Coltrane’s long association with the label, it became known as “The House That Trane Built.” Taylor left Impulse! for Verve in 1961, leaving the session Coltrane recorded with Ellington to Trane’s long-time producer Bob Thiele and engineer Rudy Van Gelder. (We’ll see Creed Taylor again.)

Ellington did not bring along his orchestra, or even his usual horn players, to the session. Without a regular record contract, he could not keep the band together indefinitely. Instead, bringing drummer Sam Woodyard and bassist Aaron Bell, he met Coltrane on more or less equal footing.

This recording found Coltrane at an interesting point in his development. While still performing with the Miles Davis Sextet, he had recorded music with an increasingly avant-garde flavor, perhaps culminating in the residency at the Village Vanguard with Eric Dolphy, Reggie Workman, Elvin Jones and McCoy Tyner that saw a release as Impressions. Critics were bitterly divided over the work, misunderstanding Trane’s searching approach, and 1962 apparently brought some retrenchment, with a greater focus on ballads, but no lack of innovation in the playing. Trane had just stabilized the membership in his own Great Quartet, with Jimmy Garrison replacing Workman on bass; Garrison and Jones join Coltrane on this session, and indeed support Ellington on all but two of the numbers.

As with Money Jungle, Ellington paired with the new players brings a sense of fresh spontaneity and depth to the album, many of the selections on which are familiar Ellington standards. The opener, “In a Sentimental Mood,” could not be performed more delicately by the band, with Jones’ muscular but nuanced hand at the drums joining Aaron Bell on bass. Trane’s melodic playing seems to search through the key changes of the tune, but never goes “out” in the way some of his earlier work stretches beyond space and time. Instead, he seems anchored to our world through the combination of Ellington’s gentle arpeggiated introduction and Jones and Bell’s steady, subtle pulse.

“Take the Coltrane” is one in a series of Ellington compositions devoted to musicians with whom he collaborated, and it’s a remarkable achievement, highlighting both Trane’s arpeggiated “sheets of sound” and a slyly modal melody. Elvin Jones does unnaturally wonderful things on the hi-hat throughout, and Trane’s solo is of a piece with the work he was recording on his own Impulse! recordings. This recording features both Bell and Garrison on bass, and both plus Jones support Trane under his solo while Ellington steps aside. When Duke returns, he slyly drops in a little “Ooh Pa Pa Da” as though in reference to the bop origins of the tune. It’s genuinely fun.

“Big Nick,” the sole Coltrane original on the record, is a fun, loping melody that takes the harmonic ideas of “Giant Steps” and swings them, creating a slow blues that rides on Jimmy Garrison’s loping bass line. Coltrane’s solo takes off for something like the outer stratosphere but never loses the blues progression, so that when he yields the floor to Duke his more straightforward take on the blues feels like a continuation of the conversation, rather than a rebuke. But it really all comes back to the melody, one of the quirkiest and most fun that Coltrane authored.

“Stevie” carries on the swing but in a more Ellingtonian harmonic language, swerving from a minor blues into a major key. His introductory choruses veer through at least three different modes before returning to the original minor. Trane mostly stays within the first minor mode for his solo, which carries flavors of “Impressions” in its blistering runs but never goes too far outside. Ellington’s initial take on the melody stays cool in contrast to Coltrane’s heat, finishing with a low tolling note to close out the first side.

“My Little Brown Book” is one of the most gorgeous ballads on the record. The Ellington introduction, with Woodyard and Bell backing, revisits the feeling of “In a Sentimental Mood,” but when Coltrane enters on the melody of this Strayhorn composition, we’re suddenly swaying to a half heard melody on an empty dance floor somewhere near midnight. This is Trane at his most romantic, with echoes of his performance of “I’ll Wait and Pray” from Coltrane Jazz, and the rest of the band is there for him, with only small ripples from Ellington disturbing the serenity of the track.

“Angelica” is, for me, the standout track here. Just listen to that opening beat from Elvin Jones, and the bounce that carries over to Ellington’s opening choruses, backed up by a jubilant Garrison. Coltrane’s entry keeps the swing going, and he plays it pretty safe for the first few choruses. Then on that fourth, after Ellington drops out and it’s just him and the rhythm, he cuts loose, with sheets of sound swirling around the beat, never losing the swing but somehow taking a step left through a door into, well, a John Coltrane record. After that chorus, he brings it back to the melody, and you can hear Ellington recalibrating his approach before he re-enters. It sums up so much about the connection between Coltrane’s approach and the harmonic and rhythmic innovations that had come before him, and is a complete blast to listen to. And maybe even dance: I want Elvin Jones playing that beat for my entry music as I stroll, sashay and jitterbug into heaven.

“The Feeling of Jazz” brings us back to a slow blues to close out the album. True to its title, it bridges both Trane’s searching quality and Ellington’s formalism to give us something that feels like a little of both worlds. Trane’s solo continues throughout most of the song; we are reminded of the time he told Miles, the latter having asked why he played such a long solo, that “it took that long to get it all in.” At the end, Trane finally steps back from the microphone and Ellington and his rhythm section play through the fade-out, the elder titan getting the last word.

In the liner notes to the album, Trane famously remarked, “I would have liked to have worked over all those numbers again, but then I guess the performances wouldn’t have had the same spontaneity.” The whole session was recorded in a single day on September 26, 1962 at Rudy Van Gelder’s studio, just eight days after the recording of “Up ’Gainst the Wall” that rounds out Impressions. But the album speaks for itself, the meeting of two giants and of two sympathetic musicians who bring their separate conceptions of the music into a unified whole. It remains as spontaneous and fresh for me today as when I first heard it almost thirty years ago.

You can listen to the album here:

Wayne Shorter, Speak No Evil

Album of the week, June 4, 2022.

Many of the musicians in this series must be described in the past tense, but Wayne Shorter is still with us. We heard his tenor voice last time as a member of Miles Davis’ band. Today we’re going to look at an album he recorded after that run of dates on the road—an album that still stands among the greatest small group jazz recordings ever.

Wayne Shorter started his career in the Army, serving for two years after graduating from New York University, and playing in a combo with Horace Silver. He was subsequently hired by Art Blakey, who made a career out of finding promising young players and giving them opportunities to shine. During the time when Shorter was in the Jazz Messengers, Blakey’s band, he played alongside trumpeter Lee Morgan, pianist Bobby Timmons, trombonist Curtis Fuller, bassist Reggie Workman, Freddie Hubbard, and pianist Cedar Walton at various times. (We’ll hear from many of these artists later.) Even among this group of young giants, Shorter stood out, eventually becoming the band’s musical director.

Shorter played a few gigs with Miles in 1962 but stayed committed to Blakey’s group, finally giving in and joining Miles for good in the summer of 1964. The group toured extensively through Europe that summer and fall; in addition to the Berlin date we wrote about last time, there are also radio sessions documenting concerts in Paris, Sindelfingen (West Germany), and Copenhagen. When the band returned, with no Davis recording sessions imminent, he hit Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey. The first session, in November, yielded three takes that were rejected by Blue Note. The second session, on Christmas Eve, 1964, yielded a masterpiece.

Shorter had already recorded two albums for Blue Note in 1964, with a group consisting of Coltrane sidemen (McCoy Tyner, Reggie Workman, and Elvin Jones) that established his abilities as a leader and a composer, but cast him as a Coltrane disciple. This time around the compositional voice was more assured and also beginning to speak a different language, with modal influences from Miles. That’s not all the record borrows from his work with the Miles Davis Quintet; his bandmates Herbie Hancock and Ron Carter joined him for the recording, alongside trumpeter Freddie Hubbard and John Coltrane Quartet drummer Elvin Jones. (We’ll hear more about all these musicians.)

Shorter starts off the album with “Witch Hunt,” a modal, bluesy track that features strong playing from Hubbard over a relaxed groove courtesy of Hancock and Carter. Hancock’s time in Miles’ group is apparent in his accompaniment, which drops chords into the spaces left by the horns as he brings the band along on the changes. Elvin Jones keeps the time with a relaxed swing, but turns up the heat as the group shifts gears into the chorus and as Shorter’s solo gets hotter, finding a new rhythmic pattern. Carter keeps an implacable heartbeat below all the players. And Shorter and Hubbard trade solos over the rhythm section, finding different approaches to the loping melody that opens the track.

“Fee Fi Fo Fum” is in nearly the same tempo, but relaxes further into the groove and drops a minor third down the chord that “Witch Hunt” explores, lending the impression of continuing the thought that the opening track started. Here Hubbard opens with a brief solo before yielding the floor to Shorter, who brings several different tonalities around the melody before passing the ball back to Hancock.

“Dance Cadaverous” continues the groove in waltz time. The first side of the album, in fact, feels like a slowly unfolding exploration of the same musical idea, with different melodic ideas continuing in the same mode. The sound continues to swirl around the same tonality in a series of hypnotic melodies, but you’d be forgiven for thinking of the songs as slightly interchangeable.

That changes in a big way with the title track, which opens the second side of the album. Here the melody is both simpler, reliant on just three notes to express the statement of the core idea, and more developed, as it moves in and out of the opening tonality, then climbs chromatically up the octave topping out a ninth above, with Hancock closing the pattern with a cluster of chords that descends back to the tonic. The tune is memorable and insistent and sticks around as Jones and Carter dig into the swing underneath while Hancock sketches out the scale, exploring both the chordal patterns and different rhythms. As with other songs in this session, Hubbard’s solo goes high, but Shorter stays in the same range as the melody, persistently circling round the melodic idea.

Things get stripped back even further on “Infant Eyes,” a slow ballad where Shorter and Hancock both strip out all but the most essential notes. Carter’s bass heartbeat is the pulse that moves the ballad forward, functioning in much the same way that Paul Chambers’ bass work did on Coltrane’s “Naima.” Shorter’s solo seems suspended in mid-air above the bed of Hancock’s delicate chord work throughout (Freddie Hubbard sits this one out). It’s stunning and points the way toward a path that Shorter would walk throughout his career.

The album closes with another statement in three. “Wild Flower” is, even more than “Dance Cadaverous,” a waltz, with the two horns playing in close harmony on the opening statement, only to come into unison on the second part of the theme as though two flowers twined around each other and grew toward the sky. The soloists follow the melody into and out of minor keys, exploring around the theme above the ground held by Elvin Jones and Ron Carter, with Herbie Hancock’s slightly off-beat chords giving the impression of someone wandering onto the dance floor with one leg slightly shorter than the other. Like the entire album, it’s mysterious, moody, and more than a little joyous.

Shorter would record more albums for Blue Note (and we’ll hear some of them), but this is undeniably his best known outing for the label. A statement of his compositional and soloistic gifts, it’s a performance that’s rarely been equalled on record. Next week we’ll see what happens when three of these players return to the context of the Miles Davis Quintet not quite a month later.

My copy of the album is the Blue Note 75th Anniversary re-pressing. I’ve picked up a few Blue Note reissues in various lines and have always been pleased, perhaps no more so than with this one, which has the sound of the musicians completely present and lifelike. You can listen to the album here.