Also in all the tracks of the first cd that presents sound quality surprisingly good we counted with Doug Watkins's excellent and discreet presences bass and Louis Hayes drums. According to Wikipedia, citing the liner notes, the musicians here were winners or first runners up of the Down Beat poll in 1957. By that time, he had already been a member of both the Miles Davis Quintet and the Thelonious Monk Quartet, and his role in jazz as evidenced by a brief listening to several of the younger tenor players was shifting from student to teacher. When Howard Williams takes the place of Flanagan, it's not as musical. Feel free to comment on Blue Train or any earlier release even if I plow ahead. Hoping I'll enjoy the studio version also.
Had the album been released at the time it was recorded, it would have reached the small nucleus of Coltrane followers then active and for the rest been largely ignored. Trane plays as if he is just having a great time on these sessions. The first three numbers are nothing to write home about, though any Coltrane completist will probably have all the tracks here in some form. You may try to continue using the Dusty Groove website, and if you have any trouble placing your order online we suggest you make a list of the items you wish to buy order by phone at Monday through Friday, 10am—4pm, Central Time. But one of the results it had was that it was not until Rollins' temporary retirement in 1959 there were those who said the controversy was a contributing factor in his decision that Coltrane came, in terms of public acceptance, into his own. Any fans of Spring 1957 Coltrane here? It is hard to believe, after hearing this music, that in a couple more years, Harden would disappear from jazz, apparently because of health issues, and be forgotten.
I had a ritual this week of coming home from work and listening to this album. His playing seems to me, fragmented and timid. On a some tracks, Curtis Fuller help's out. On March 22, 1957, Trane was in the studio for Prestige, recording tracks that would end up on The Prestige All Stars - Interplay for 2 Trumpets and 2 Tenors and Art Taylor's Taylor's Wailers. To Coltrane, the new approval manifests itself primarily in terms of economics: more work, and a better price for it. Largely unknown, Wilbur Harden will pleasantly surprise you.
Miles Milestones Miles Davis 5. That being said, check out Kenny Burrell's Midnight Blue or Grant Green's Idle Moments, Matador, or Solid for engaging jazz guitar from that general period. On April 16, he joins Monk in the studio for the first time. He is a competent, though not outstanding trumpet soloist, but he shines as an exceptional composer. If we cannot include Harden among the geniuses of the Jazz, we can easily included among one of the best of his instrument, besides skilled composer with prominence for the Wells Fargo and Snuffy. I haven't listened to this yet, but it's next on my list. Excellent masterings and when they were released made the material more accessible than the expensive, out of print complete Prestige box set.
Now you really get a sense of Coltrane as an evolving soloist and leader. This band, minus Garland and Jones, plus Bill Evans and Jimmy Cobb, would go on to scale pun intended great heights on the modal 1958 Miles aka side 2 of Jazz Track, minus a track and Kind of Blue minus Evans, plus Wynton Kelly on one track. In the second cd that looks a sound quality slightly inferior to the first we counted with the support of the formidable and vehement Ali Jackson bass and Arthur Taylor drums. In a way, the Harden tunes are similar to Yusef Lateef's work for the label — hardbop at the core, but with touches of exoticism and spiritualism that brings out whole new modes of playing from the musicians. A solid entry in the discography, but inessential, in my opinion. And I need a good copy of Thelonious Himself. After working with Yusef Lateef in 1957, he recorded four sessions for Savoy in 1958: three with John Coltrane and one with pianist Tommy Flanagan.
Of these, I only have A Blowing Session, which I'll spin now. Everytime we say goodbye - Coltrane John Quartet 6:11 min. Most marks of this quality will disappear when the record is tilted, and will not be felt with the back of a fingernail. With 35 years old, due to health problems, he disappeared of the musical scenery, after recording with the trombonist Curtis Fuller in 1960. French Horn, two tenor saxes, and guitar with the wonderful Kenny Burrell. Johnson, Frank Rosolino, Billy Ver Planck, Frank Wess ldr , Yusef Lateef, Seldon Powell f, ts , Frank Wess f , Phil Woods cl, as , Leo Parker, Sol Schlinger bar , Bernie Glow, Wilbur Harden, Lee Morgan, Phil Sunkel t , Jimmy Cleveland, Henry Coker, Bill Harris, Bill Hughes, J. And of course the title track just gets lodged in my brain.
Players include Junior Mance, Roy Haynes, Freddie Green, Count Basie, Shadow Wilson, Buddy Tate, and Joe Newman — and most of the material'. I Want to Talk to You 3. The next two albums overlap a bit in their studio recording dates. Wilbur Harden, trumpet, flugelhorn; Curtis Fuller, trombone; John Coltrane, tenor sax; Tommy Flanagan, piano; Alvin Jackson, bass; Art Taylor, drums. The two Ray Draper albums are great. The influences of Dexter Gordon vintage 1946 , Sonny Stitt, Stan Getz certain facets of sound and a general essence of Charlie Parker were more evident, even then.
Moving right along to 1957, what would be a pivotal year for Coltrane as he would team up with Monk and record the first albums under his own name. Bob's boys - Coltrane John 8:21 min. I'm curious to check out The Cats, Mal-2, and Dakar. He never rendered much else, but these sides did show amazing promise. Of course, by definition, that was true at the time the record was obviously just as good when it was made as it is today or will be ten years from now , but it takes the audience and the writers a while to catch up. It was the last record he made for Prestige that was released in the year it was recorded, with Trane's involvement. From Joe Goldberg's liner notes: Settin' the Pace seems to me to be an excellent title for a collection of John Coltrane performances recorded in 1958.