"This releases includes the complete sessions by the John Coltrane Quartet with Red Garland on piano. Originally issued on many different albums, this Is the first time this important body of music is presented on one edition! Recorded while Trane was working for Miles Davis and Thelonious Monk, these splendid quartet sides show the saxophonist's development prior to his famous 1960 quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones!" (bron: Essential Jazz)
"Nog niet eerder uitgebrachte opnamen van de Thelonious Monk-soundtrack voor de film Les liaisons dangereuses. De mensen achter deze heruitgave noemen de ontdekking van deze banden van grote historische (jazz)betekenis. Deze sessie is op 27 juli 1959 opgenomen. Op twee nummers speelt Barney Wilen mee op tenorsax. Oorspronkelijk sloot Romano een contract met Monk voor de soundtrack. Door persoonlijke omstandigheden was het twijfelachtig of die zijn verplichtingen kon nakomen. Romano regelde daarom dat Art Blakey ook een soundtrack maakte. Door de twee soundtracks hadden Vadim en Romano ruim voldoende muziek voor de film. Bij de film zijn van beide soundtracks gedeeltes gebruikt. De soundtrack van Art Blakey and the Jazz Messengers is wel eerder volledig op CD uitgebracht. De opname van het Thelonious Monk Quintet is bijzonder genoeg. Er bestaan geen andere opnamen waarop Barney Wilen met Monk speelt. Bovendien zijn opnamen met het ritme-duo Sam Jones en Art Taylor zeldzaam." (Ben IJpma, Jazzflits)
Eigenlijk staan deze sessies niet op naam van Coltrane, maar op die van trompettist Wilbur Harden. Deze verdween, al vrij snel na deze opnamen, compleet van de radar en bleef obscuur. Niet gek dus dat ze onder Coltrane's naam op CD verschijnen. "Although Harden is a competent player on both trumpet and flugelhorn, his compositions aren't particularly memorable, although they are enjoyable. The primary reason people have sought this music is to plug a gap in their John Coltrane collections. The consistently strong playing of John Coltrane is what makes this set worth acquiring." (Ken Dryden, Allmusic)
Werd bekend als pianist bij Charlie Parker. Maakte ook erg veel soloplaten. "Duke Jordan, who played regularly with the Charlie Parker Quintet in 1947, has long been known as a superior bebop pianist whose style was touched by the genius of Bud Powell's innovations. This quintet album (which also features trumpeter Dizzy Reece and the young tenor Stanley Turrentine) gave Jordan an opportunity to record six of his originals and, although none became as well-known as his "Jordu," the music has plenty of strong melodies and variety. This is one of Duke Jordan's better recordings and is quite enjoyable. This is Blue Note's 2007 remastered CD reissue, that includes "Diamond Stud" and "I Should Care" as bonus tracks." (Scott Yanow, Allmusic)
"As is often the case with an artist as prolific as John Coltrane, not every release can be considered as essential. Black Pearls seems a bit ambiguous when placed in a more historical context. It was only three days later that Coltrane participated not as a leader, but rather a member, of the Miles Davis Sextet that recorded "Stella By Starlight" and "On Green Dolphin Street." There is an obvious disparity between these three mostly improvised and lengthy jams and the Davis session. This is in no way to insinuate that Coltrane's performance is anything less than par. Black Pearls indeed captures Coltrane at the height of perfecting the intense volley that would garner the name "sheets of sound." Featuring Donald Byrd (trumpet) and the Red Garland Trio -- Garland (piano), Paul Chambers (bass), and Art Taylor (drums) -- this is the same quintet that had mightily contributed to "Lush Life" and "The Believers", as well as The "Last Trane". This session would be their last together." (Lindsay Planer, Allmusic)
"This single CD has nearly all of the music from "Message" and "Second Message". The first session mostly features the fine tenor Hank Mobley jamming on four superior bop standards, including "Bouncing with Bud," "52nd Street Theme" and "Au Privavem" and his own "Minor Disturbance" in a quintet with trumpeter Donald Byrd, pianist Barry Harris, bassist Doug Watkins and drummer Art Taylor; altoist Jackie McLean has a strong cameo on "Au Privave." The second set, recorded a week later, is less of a jam session, with Mobley, trumpeter Kenny Dorham, pianist Walter Bishop, bassist Doug Watkins and drummer Art Taylor essaying three of Mobley's now-obscure compositions, Benny Harris's "Crazeology" and the standards "These Are the Things I Love" and "I Should Care." The two dates give one a good example of Hank Mobley's playing prior to becoming a regular Blue Note artist, where he would create his greatest work." (Scott Yanow, Allmusic)
Op dit klassieke hardbop-album uit 1956 wordt de pianist Silver bijgestaan door Donald Byrd (t), Hank Mobley (ts), Doug Watkins (b) en Art Taylor (d). Kenny Clarke (d) is op twee stukken te horen i.p.v. Taylor.
"Candy is a unique item in Morgans history for it is the only quartet album that Morgan ever recorded. In fact, no other horns were needed! Candy features the trumpeter playing with beauty, fire, passion and a mature lyricism exceeding most musicians double his age. Joined by a rhythm section of young giants including pianist Sonny Clark, Morgan burns on the faster pieces but puts plenty of feeling into All The Way, the soulful Since I Fell For You and Personality. At 20, Lee Morgan was already a modern master and, from this point forward, considered one of the great trumpet men of jazz. Who said that youth was wasted on the young?" (Elite Diffusion)
"In July of 1957, when Paul Chambers recorded this third and final Blue Note release as a leader, he was already in his 3ed year with the most influential jazz group of the time, the first great Miles Davis Quintet. Chambers was 22 years old and firmly established as one of the top bass players in jazz. It's a remarkably mature musical statement for anyone, let alone someone so young. The bass is the dominant instrument, playing the melodies and taking most of the solos. And Chambers, whether playing with a bow or pizzicato, soloing or accompanying the others, is brilliant. The absence of any horns lends the session an almost chamber jazz feel, as does the presence of masterful guitarist Burrell and the most sophisticated and eloquent of jazz pianists, Hank Jones. Drummer is Art Taylor, who had temporarily replaced Philly Joe Jones in Davis' group at the time. This is quiet, thoughtful, and intelligent music played at a tremendously high level by all the musicians." (Joel Roberts, All Aabout Jazz)
Jazz Podium De Tor-tip. "In 1956 Jackie McLean was only beginning to assert himself as a true individualist on the alto saxophone, exploring the lime-flavored microtones of his instrument that purists or the misinformed perceived as being off-key or out of tune. "4, 5 And 6" presents McLean's quartet on half the date, and tunes with an expanded quintet, and one sextet track -- thus the title. Mal Waldron, himself an unconventional pianist, is a wonderful complement for McLean's notions, with the impervious rhythm section Doug Watkins and Art Taylor. The quartet pieces range from totally bluesy, to hard bop ribald, to pensive and hopeful. Donald Byrd joins the fray on his easygoing bopper "Contour," where complex is made simple and enjoyable, while Hank Mobley puts his tenor sax to the test on the lone and lengthy sextet track, a rousing version of Charlie Parker's risk-laden "Confirmation." It's Waldron's haunting ballad "Abstraction," that somewhat illuminates the darker side." (Michael G. Nastos, Allmusic)
Opname: 1969
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