One of THE great jazz quartets of all time: Coltrane (tenor & soprano), McCoy Tyner (piano), the earth-shaking Elvin Jones (drums) and Steve Davis (bass, though 'Trane's band would most often feature Jimmy Garrison and sometimes Reggie Workman), playing a blues-inspired program of originals. This band had an empathy shared by only the best bands in jazz: the Brubeck and Miles Davis groups, the Modern Jazz Quartet–and it shows here, with warmth, confidence, economy and relaxed interplay.
Reflecting on the inspiring spiritual presence of John Coltrane, Ruby Bridges (the first student to desegregate an all-white New Orleans Elementary School in 1960), and spiritual writer and social activist, Thomas Merton, Chicago guitarist John Moulder composed this set of music in celebration of their ongoing influence. 'Earthborn Tales of Soul and Spirit' features saxophonist Donny McCaslin and trumpeter Marquis Hill, along with a cast of Moulder's longtime musical colleagues, including drummer Paul Wertico, bassists Steve Rodby, Larry Gray & Eric Hochberg, and others. 'The radiant, life-affirming glow of this music is unmistakable.'
Coltrane Jazz is the sixth studio album by jazz musician John Coltrane, released in 1961 on Atlantic Records. The song "Villa's Blues" is noted as a landmark recording, as it marks the first session date of the early John Coltrane Quartet on record. Featured alongside Coltrane are pianist McCoy Tyner, drummer Elvin Jones, and bassist Steve Davis. On June 20, 2000, Rhino Records reissued Coltrane Jazz as part of its Atlantic 50th Anniversary Jazz Gallery series. Included were four bonus tracks, two of which had appeared in 1975 on the Atlantic compilation Alternate Takes, the remaining pair earlier issued on The Heavyweight Champion: The Complete Atlantic Recordings in 1995…
Hugh Laurie makes a musical pilgrimage across America to delve into the story of the country's blues music. When he was a boy, Hugh heard a recording of a concert featuring blues legend Professor Longhair playing on board the Queen Mary in Long Beach, California. As a tribute, Hugh gigs his way across the USA before playing a concert in homage to his musical hero on the very same ship. On the way, he visits the studios of Ray Charles and plays the blues star's own piano. He also meets Mudd Morganfield, the son of Muddy Waters, and duets with Jools Holland.
Considered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he's simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet.
The album newly remastered from the original master tapes. This set documents the four-night stand by John Coltrane (sax) and his quintet at the Village Vanguard in New York City, November 1 – 5, 1961. Although these are not newly discovered tapes – as the majority of the selections have turned up on no less than five separate releases – their restoration is significant in assessing motifs in Coltrane's [read: multi-show] live appearances. Coltrane is accompanied by an all-star ensemble of Eric Dolphy (alto sax/bass clarinet), Garvin Bushell (oboe/contrabassoon), Ahmed Abdul-Malik (oud), McCoy Tyner (piano), Jimmy Garrison (bass), Reggie Workman (bass), Elvin Jones (drums), and Roy Haynes (drums). Their presence is as equally vital as Coltrane's – inspiring as well as informing the dimensions of improvisation.
On his first session as a bandleader, tenor saxophonist John Coltrane is joined by Johnny Splawn on trumpet, Sahib Shihab on baritone sax, and a rhythm section of bassist Paul Chambers and drummer Albert "Tootie" Heath with piano duties split between Mal Waldron and Red Garland. Right out of the gate, the propulsive syncopated beat that drives through the heart of Coltrane's fellow Philly denizen Calvin Massey's "Bakai" indicates that Coltrane and company are playing for keeps. Shihab's emphatic and repetitive drone provides a manic urgency that fuels the participants as they weave in and out of the trance-like chorus.