elvinjones

John Coltrane ‘A Love Supreme’

55 years ago today, @johncoltrane tossed a metaphorical stone into the ocean. The ripples continue to spread, some lapping at distant shores as little more than flecks of foam, others hitting closer to home with the power of a tsunami. For an album that’s been endlessly analyzed and thoroughly discussed, it remains a delightful enigma. It’s perpetually engaging, satisfying, uplifting and thought provoking. Coltrane’s combination of urgency and serenity as he seeks to tap into whatever higher power one believes is in the universe and/or within us all is profound. Others far more eloquent and educated can better speak to the history and mystery of ‘A Love Supreme’. That said, I certainly wish that whatever benevolent inspiration visited the studio that day, I hope it visits everyone often

John Coltrane ‘Coltrane’s Sound’

Coltrane’s studio work in the final week of Oct 1960 produced the acclaimed and hugely popular ‘My Favorite Things’, the lesser-known but essential ‘Coltrane Plays the Blues’, and the middle child whose strengths and qualities have only become more apparent over the years, ‘Coltrane’s Sound’. I could pontificate about the track “Equinox” for hours—far and away my favorite @johncoltrane original, and one of my favorite jazz songs, EVER. The emotional wallop this tune packs knocks me flat every time. The power, gravitas and solemnity that pours forth from the speakers when this song plays is felt as much as heard. If it doesn’t give you the feels, see a doctor immediately. The other three originals and two standards are also amazingly played, and I underscore the word “amazing” because this is only the THIRD TIME pianist McCoy Tyner and the SECOND TIME drummer Elvin Jones had recorded with ‘Trane. It’s certainly fun to over-analyze the three albums that these sessions produced, comparing, contrasting and discussing them to rank them within the pantheon of Coltrane’s @atlanticrecords era. When I’m in that frame of mind, I tend to reach for this album more often than the other two. But ultimately it’s more satisfying to consider them as one body of work and play them all! This pressing is a Japanese reissue, mono, part of the Jazz Analog Premium Collection produced by Kouki Hanawa WPJR-10053/Atlantic ‎– 1419 @mccoytyner

The John Coltrane Quartet Plays

Standing in the long, tall, wide, deep shadow of its predecessor ‘A Love Supreme’, this record deserves your undivided attention. Recorded in Feb & May 1965 with @johncoltrane doubling on tenor and soprano saxophones, he and his classic quartet proceed to make quite the exploratory epic out of Disney’s “Chim Chim Cheree” which—depending on how firmly it’s stuck in your head—is either the most interesting or most annoying tune from ‘Mary Poppins’. In a sense, the approach is similar to the modal masterpiece of ‘My Favorite Things’—a moment or two on the core melody and then toss the rulebook out the window. That’s where the similarity ends though. Whereas MFT was built on an undercurrent of joy, CCC is more restless. Unsettled. Busy. In search of. Occasionally chaotic. None of these observations are criticisms. If anything they underscore the depth and breadth of Trane’s artistry, and his ability to approach another popular waltz without necessarily repeating himself. This familiar-yet-different mindset holds true for ‘Brazilia’ as well—he’d debuted this song a few years earlier on ‘At the Village Vanguard’ but the studio version here is even more visceral, edgy and powerful. This track alone makes me reach for this album over and over again. The other two tracks on the LP veer closer to the spiritual questing vibe of ‘A Love Supreme’, with bassist Art Davis joining Jimmy Garrison on “Nature Boy” to add another layer of low end gravitas. Enjoy this record on its own merits, not in comparison with what came before. This is the 2011 Analogue Productions reissue, 2XLP 45RPM and sounding wonderful

Wayne Shorter Speak No Evil

Wayne Shorter ‘Speak No Evil’

Wayne Shorter’s entire @bluenoterecords run is great, but if pressed I’d have to say this one is my favorite. Every time I play it I enjoy it a bit more—I don’t know that there’s a bigger or better endorsement of an album. It’s everything one could ask for: thrilling compositions that are hummable, memorable, engaging and full of surprises; a band that plays with gravitas, swing and telepathy; and a recording that captures the energy, power and nuance of the session. If this were the first jazz record you ever heard, you’d have picked a fantastic entry point. Veteran jazz listeners return to it again and again for good reason. The year was 1964 and Wayne brought along 2 of his Miles Davis second great quintet band mates Herbie Hancock (piano) and Ron Carter (bass) who by this point had both stage & studio experience enough with Wayne’s music to knock it out of the park. Add firebrand trumpeter Freddie Hubbard and drum powerhouse Elvin Jones and it’s no wonder that ‘Speak No Evil’ rises above great. This record should loom large in every jazz collection. This is Music Matters MMBST-84194, reissued in 2015 and sounding SPECTACULAR

Elvin Jones ‘Genesis’

The most overlooked, under-appreciated album in the Blue Note catalog that swings powerfully with a fearless sense of adventure. Elvin Jones ‘Genesis’ is a prime example of the old adage “Don’t judge a book by its cover”, and I’m not sure if my crappy photo helps or hurts! This is high-intensity, interstellar post-bop delivered with near-telepathic elegance by the piano-less quintet of Elvin Jones (drums) Frank Foster (tenor sax/alto flute/alto clarinet) Joe Farell (tenor/soprano sax) David Leibman (tenor/soprano sax) and Gene Perla (bass). This is a truly FANTASTIC, far-reaching, inventive (not quite out-there enough to be considered avant garde) and multi-faceted set that packs a visceral wallop while blowing your mind. Listen to this one when you’re ready to LISTEN. And you’ll want a strong cup o’ coffee as your co-pilot. I can hear why Music Matters chose this (comparatively) obscure record to release amongst its library of classics: sonically, this record is a *BEAST*—the Notorious RVG was at the top of his game. And what is there to say about Elvin Jones except that listening to this record, he sounds like the mightiest drummer to walk the earth. Thunderous. Standout track: “Three Card Molly”. Recorded at Rudy Van Gelder Studios, Englewood Cliffs, NJ 12 Feb 1971# joefarrell