John Coltrane - A Love Supreme Live in France (1965)

Styles:
Free Jazz
Avant-Garde
Modal
Post Bop

Tracks:
01 Acknowledgement
02 Resolution

Line-up:
John Coltrane - tenor saxophone
Jimmy Garrison - double bass
Elvin Jones- drums
McCoy Tyner - piano

Cannonball Adderley Quintet - Cannonball & Coltrane (1959)

This LP (whose contents have been reissued many times) features the Miles Davis Sextet of 1959 without the leader. Altoist Cannonball Adderley and tenor saxophonist John Coltrane really push each other on these six selections, with this version of "Limehouse Blues" really burning. Coltrane's very serious sound is a striking contrast to the jubilant Adderley alto; the latter is showcased on "Stars Fell on Alabama." With pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb playing up to their usual level, this gem is highly recommended.

by Scott Yanow in All Music Guide

Styles:
Hard-Bop

Tracks:
01 - Limehouse Blues (04:39)
02 - Stars Fell on Alabama (06:15)
03 - Wabash (05:44)
04 - Grand Central (04:33)
05 - You're a Weaver of Dreams (05:31)
06 - The Sleeper (07:15)

Line-up:
Cannonball Adderley - alto saxophone
John Coltrane - tenor saxophone
Wynton Kelly - piano
Paul Chambers - bass
Jimmy Cobb - drums

Miles Davis - 'Round About Midnight (1957)

Given that Round About Midnight was Miles Davis' debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, debuted at the Newport Jazz Festival the summer before to a thunderous reception. The date was also an ending of sorts because by the time of the album's release, Davis had already broken up the band, which re-formed with Cannonball Adderley a year later as a sextet, but it was a tense year. Musically, this sound is as unusual and as beautiful as it was when issued in 1956. Davis had already led the charge through two changes in jazz -- both cool jazz and hard bop -- and was beginning to move in another direction here that wouldn't be defined for another two years. Besides the obvious lyrical and harmonic beauty of "Round About Midnight" that is arguably its definitive version even over Monk's own, there are the edges of Charlie Parker's "Au Leu-Cha" with its Bluesology leaping from every chord change in Red Garland's left hand. Coltrane's solo here too is notable for its stark contrast to Davis' own: he chooses an angular tack where he finds the heart of the mode and plays a melody in harmonic counterpoint to the changes but never sounds outside. Cole Porter's "All of You" has Davis quoting from Louis Armstrong's "Basin Street Blues" in his solo that takes out the tune, and Coltrane has never respected a melody so much. But it's in "Bye-Bye Blackbird" that we get to hear the band gel as a unit, beginning with Davis playing through the melody, muted and sweet, slightly flatted out until he reaches the harmony on the refrain and begins his solo on a high note. Garland is doing more than comping in the background; he's slipping chord shapes into those interval cracks and shifting them as the rhythm section keeps "soft time." When Coltrane moves in for his break, rather than Davis' spare method, he smatters notes quickly all though the melodic body of the tune and Garland has to compensate harmonically, moving the mode and tempo up a notch until his own solo can bring it back down again. Which he does with a gorgeous all-blues read of the tune utilizing first one hand and then both hands to create fat harmonic chords to bring Davis back in to close it out. It's breathtaking how seamless it all is. There's little else to say except that Round About Midnight is among the most essential of Davis' Columbia recordings.

By Thom Jurek in All Music Guide

Styles:
Hard-Bop
Blues
Cool

Tracks:
01 - 'Round Midnight (06:00)
02 - Ah-Leu-Cha (05:55)
03 - All of You (07:05)
04 - Bye Bye Blackbird (07:59)
05 - Tadd's Delight (04:33)
06 - Dear Old Stockholm (07:55)
07 - Two Bass Hit (03:47)
08 - Little Melonae (07:24)
09 - Budo (04:17)
10- Sweet Sue, Just You (03:39)

Line-up:
Miles Davis - trumpet
John Coltrane - tenor saxophone
Red Garland - piano
Paul Chambers - bass
Philly Joe Jones - drums

Duke Ellington & John Coltrane (1962)

For this classic encounter, Duke Ellington "sat in" with the John Coltrane Quartet for a set dominated by Ellington's songs; some performances have his usual sidemen (bassist Aaron Bell and drummer Sam Woodyard) replacing Jimmy Garrison and Elvin Jones in the group. Although it would have been preferable to hear Coltrane play in the Duke Ellington orchestra instead of the other way around, the results are quite rewarding. Their version of "In a Sentimental Mood" is a high point, and such numbers as "Take the Coltrane," "Big Nick," and "My Little Brown Book" are quite memorable. Ellington always recognized talent, and Coltrane seemed quite happy to be recording with a fellow genius.

by Scott Yanow in All Music Guide

Styles:
Mainstream Jazz
Piano Jazz
Jazz Instrument
Post-Bop

Tracks:
01 In a Sentimental Mood
02 Take the Coltrane
03 Big Nick
04 Stevie
05 My Little Brown Book
06 Angelica
07 The Feeling of Jazz

Line-up:
Duke Ellington - piano
John Coltrane - tenor and soprano saxophone
Aaron Bell - bass (1, 4, 5, 7)
Sam Woodyard - drums (4, 5, 7)
Jimmy Garrison - bass (2, 3, 6)
Elvin Jones - drums (1, 2, 3, 6)

John Coltrane - Ascension (1965)

Ascension is the single recording that placed John Coltrane firmly into the avant-garde. Whereas, prior to 1965, Coltrane could be heard playing in an avant vein with stretched-out solos, atonality, and a seemingly free design to the beat, Ascension throws most rules right out the window with complete freedom from the groove and strikingly abrasive sheets of horn interplay. Recorded with three tenors (Trane, Pharoah Sanders, Archie Shepp), two altos (Marion Brown, John Tchicai), two trumpet players (Freddie Hubbard, Dewey Johnson), two bassists (Art Davis, Jimmy Garrison), the lone McCoy Tyner on piano, and Elvin Jones on the drums, this large group is both relentless and soulful simultaneously. While there are segments where the ensemble plays discordant and abrasive skronks, these are usually segues into intriguing blues-based solos from each member. The comparison that is immediately realized is Ornette Coleman's Free Jazz of five years previous. However, it should be known that Ascension certainly carries its own weight, and in a strange sense makes Coleman's foray a passive adventure -- mostly due to an updated sonic quality (à la Bob Thiele) and also Trane's greater sense of passionate spiritualism. Timed at around 40 minutes, this can be a difficult listen at first, but with a patient ear and an appreciation for the finer things in life, the reward is a greater understanding of the personal path that the artist was on at that particular time in his development. Coltrane was always on an unceasing mission for personal expansion through the mouthpiece of his horn, but by the time of this recording he had begun to reach the level of "elder statesman" and to find other voices (Shepp, Sanders, and Marion Brown) to propel and expand his sounds and emotions. Therefore, Ascension reflects more of an event rather than just a jazz record and should be sought out by either experienced jazz appreciators or other open-minded listeners, but not by unsuspecting bystanders.
by Sam Samuelson in All Music Guide

Styles:
Free-Jazz
Avant-Garde
Experimental Big-Band

Tracks:
01 - Ascension [Edition II] (40:56)
02 - Ascension [Edition I] (38:30)

Line-up:
John Coltrane – tenor saxophone
Pharoah Sanders – tenor saxophone
Archie Shepp – tenor saxophone
Marion Brown – alto saxophone
John Tchicai – alto saxophone
McCoy Tyner – piano
Freddie Hubbard – trumpet
Dewey Johnson – trumpet
Art Davis – upright bass
Jimmy Garrison – upright bass
Elvin Jones – drums

John Coltrane & Don Cherry - The Avant-Garde (1960)

This album is rightfully co-credited to Don Cherry (trumpet), who ably trades blows with John Coltrane (tenor/soprano sax) throughout. The Avant-Garde also boasts the debut studio recording of Coltrane playing soprano sax -- on "The Blessing" -- in addition to his continuing advancements on tenor. Although these tracks were recorded during the summer of 1960, they remained shelved for nearly six years. Joining Coltrane and Cherry are essentially the rest of the members of the Ornette Coleman Quartet, Ed Blackwell (drums) and Charlie Haden (bass) on "Cherryco" and "The Blessing," as well as Percy Heath (bass) on the remaining three selections. This is fitting, as over half of the album consists of early Coleman compositions. Coltrane's integration into this band works with some extraordinarily fresh results. Neither Cherry nor Coltrane makes any radical departures on this album; however, it's the ability of each to complement the other both in terms of modal style and -- perhaps more importantly -- texture that lends heavily to the success of these sides. Cherry's brisk and somewhat nasal intonations on "The Blessing" mimic those of Miles Davis, albeit with shorter flourishes and heavily improvised lines. When combined with Coltrane's well-placed -- if not somewhat reserved -- solos, the mutual value of both is dramatically increased. Blackwell -- the only other musician besides Cherry and Coltrane to be featured on every track -- provides some non-conventional percussive accompaniment. His contributions to "The Blessing" and workout on the aptly titled "Focus on Sanity" are primal.

by Lindsay Planer in All Music Guide

Styles:
Hard-Bop
Avant-Garde

Tracks:
01 - Cherry-Co (6:47)
02 - Focus On Sanity (12:15)
03 - The Blessing (7:53)
04 - The Invisible (4:15)
05 - Bemsha Swing (5:05)

Line-up:

John Coltrane - soprano & tenor saxophones

Don Cherry - trumpet

Charlie Haden - acoustic bass
Percy Heath - acoustic bass

Ed Blackwell - drums

George Russell - New York, N.Y. (1959)

George Russell was one of the most forward-thinking composers and arrangers on the jazz scene during the 1950s, but his work was generally more appreciated by musicians than the jazz-buying public. New York, New York represents one of many high points in his career. He assembled an all-star orchestra, including pianist Bill Evans (a frequent participant on Russell's recordings), Art Farmer, Bob Brookmeyer, John Coltrane, and Milt Hinton, among others. In Rodgers & Hart's "Manhattan," Russell has the soloists playing over the orchestra's vamp, while he also creates an imaginative "East Side Medley" combining the standards "Autumn in New York" and "How About You." His original material is just as striking as his arrangements, while vocalist Jon Hendricks serves as narrator between orchestra segments. While this release has been reissued several times, it rarely remains in print for long, so don't miss the opportunity to acquire this elusive CD.

by Ken Dryden in All Music Guide

Styles:
Post-Bop

Tracks:
01 - Manhattan (10:34)
02 - Big City Blues (11:40)
03 - Manhattan: "Rico" (10:12)
04 - East Side Medley: Autumn in New York / How About You? (8:01)
05 - A Helluva Town (5:01)

Line-up:
George Russell - arranger, conductor
Art Farmer - trumpet
Doc Severinson - trumpet
Ernie Royal - trumpet
Bob Brookmeyer - trombone
Frank Rehak - alto saxophone
Tom Mitchell - alto saxophone
Hal McKusick - alto saxophone
John Coltrane - tenor saxophone
Sol Schlinger - baritone saxophone
Bill Evans - piano
Barry Galbraith - guitar
Milt Hinton - bass
Charlie Persip - drums
Jon Hendricks - vocals, narration

John Coltrane - Olé Coltrane (1961)

The complicated rhythm patterns and diverse sonic textures on Olé are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick -- over and beyond his appreciable musical skills -- guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced -- two days prior to this session -- on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two discs complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane (soprano/tenor sax), McCoy Tyner (piano), and Elvin Jones (drums), with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with Freddie Hubbard (trumpet) and Eric Dolphy (flute and alto sax). Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album. The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain. This is taken a bit further as Coltrane's combo stretches out with inspired improvisations from Dolphy, Hubbard, Tyner, and Coltrane, respectively. "Olé" likewise sports some amazing double-bass interaction. The combination of a bowed upright bass played in tandem with the same instrument that is being plucked has a sinister permeation that assuredly excited Coltrane, who was perpetually searching from outside the norms. The haunting beauty of "Aisha" stands as one of the finest collaborative efforts between Tyner -- the song's author -- and Coltrane. The solos from Hubbard, Dolphy, and an uncredited Tyner gleam from within the context of a single facet in a multi-dimensional jewel. The CD reissue also includes an extra track cut during the Olé sessions. "To Her Ladyship" is likewise on the seven-volume Heavyweight Champion: The Complete Atlantic Recordings box set.

by Lindsay Planer in All Music Guide

Styles:
Modal
Hard Bop
Post Bop

Tracks:
01 - Olé (18:15)
02 - Dahomey Dance (10:52)
03 - Aisha (7:39)
04 - To Her Ladyship [Bonus Track] (8:58)

Line up:
John Coltrane – soprano sax, tenor sax
Eric Dolphy – flute, alto sax
Freddie Hubbard – trumpet
McCoy Tyner – piano
Reggie Workman – bass
Art Davis – bass
Elvin Jones – drums

John Coltrane in Germany (1960)

Tracks:
01 - On Green Dolphin Street
02 - Walkin
03 - The Theme

Line-up:
John Coltrane - Tenor & Soprano Sax
Wynton Kelly - Piano
Paul Chambers - Bass
Jimmy Cobb - Drums
Oscar Peterson - Piano

Miles Davis Quintet - Miles: The New Miles Davis Quintet (1956)

Although they had made a few slightly earlier cuts that would later be issued on Columbia, the first full-length album by the Miles Davis Quintet is quite intriguing in that it gives one a look at tenor saxophonist John Coltrane when he still had a hesitant style. This audiophile CD reissue has the same music that is currently available on an Original Jazz Classics set: five jazz standards plus "The Theme." Unlike Coltrane, who would develop rapidly within the next year, Miles was already very much in his prime, sounding quite lyrical on "Just Squeeze Me" and "There Is No Greater Love," and the classic rhythm section (pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones) was quickly starting to gel.

by Scott Yanow in All Music Guide

Styles:
Bop
Hard-Bop

Tracks:
01 - Just Squeeze Me (7:25)
02 - There Is No Greater Love (5:16)
03 - How Am I to Know? (4:37)
04 - S'posin' (5:12)
05 - Miles' Theme (5:47)
06 - Stablemates (5:19)

Line-up:
Miles Davis - Trumpet
John Coltrane - Tenor saxophone
Red Garland - Piano
Paul Chambers - Bass
Philly Joe Jones - drums

John Coltrane Quartet - Alabama (1963)

"Alabama" is a song written by John Coltrane that appears on his album Live at Birdland. It was written in reaction to the 16th Street Baptist Church bombing, an attack by the Ku Klux Klan in Birmingham, Alabama that killed four girls.

John Coltrane Quartet - The 1962 Graz Concert (1962)

The complete 1962 Graz Concert by the John Coltrane Quartet is historically noted for one particular item: this recording from the Austrian city contains the only known performance of "Autumn Leaves" by this group. Coltrane played it often during his tenure in Miles Davis' quintet, and in solo performances with pickup bands in Europe earlier, but other than on this occasion, it's nowhere else in his oeuvre. The date has been released either in whole or in part before, back in 1999 on Great Britain's Charly imprint, and part of it appeared on a collection from various European live dates known as Sheets of Sound as well as on a rather dodgy bootleg entitled Spiritual on the Delta imprint. The music is terrific. The eight tracks that cover two discs offer the band the opportunity to really stretch out. This standard is a perfect example as Coltrane switches from tenor to soprano. Elsewhere, such as on "My Favorite Things," "Impressions," and "I Want to Talk About You," you can hear the fullness of the direction the band was heading to, before A Love Supreme was even recorded. There is a beautiful reading of "Every Time We Say Goodbye" and real workouts on "Mr. P.C." and "Bye Bye Blackbird," which clocks in at a whopping 23 minutes. The sound is not improved on this version; if you already have the Charly set, there is no need for a second purchase -- it's radio broadcast quality. If you don't have it, however, and consider yourself a fan, it's available again in the 21st century, so snag it because the performance is dynamite.

by Thom Jurek in All Music Guide

Styles:
Hard-bop
Post-bop

Tracks:
Disc One
01 -Bye Bye Blackbird (23:38)
02 - The Inchworm (12:31)
03 - Autumn Leaves (10:34)
04 - Every Time We Say Goodbye (06:54)
05 - Mr. P.C. (19:26)

Disc Two:
01 - I Want To Talk About You (14:02)
02 - Impressions (20:55)
03 -My Favorite Things (23:30)

Line-up:
John Coltrane - tenor saxophone
McCoy Tyner - piano
Elvin Jones - drums
Jimmy Garrison - bass

John Coltrane Quartet - The Paris Concert (1962)

This excellent CD by the classic John Coltrane Quartet (with pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) is highlighted by a 26-minute version of "Mr. P.C." Also included on the album are "The Inch Worm" and the ballad "Every Time We Say Goodbye." Although the sound and passion of the group on this date will not surprise veteran listeners, it is always interesting to hear new variations of songs already definitively recorded in the studios. The Paris Concert is recommended to all true Coltrane fanatics.

by Scott Yanow in All Music Guide

Styles:

Hard-bop
Post-bop

Tracks:
01 - Mr. P.C (26:30)
02 - The Inchworm (10:18)
03 - Ev'ry Time We Say Goodbye (04:56)

Line-up:
John Coltrane - soprano and tenor saxophone
McCoy Tyner - piano
Elvin Jones - drums
Jimmy Garrison - double bass

Miles Davis Quintet - The Cool Jazz Sound (1959)

Tracks:
So What
The Duke
Blues for Pablo
New Rhumba

Line-up:
Miles Davis Quintet:
Miles Davis - trumpet, flugelhorn
John Coltrane - tenor saxophone
Wynton Kelly - piano
Paul Chambers - bass
Jimmy Cobb - drums

The Gil Evans Orchestra:
Ernie Royal, Clyde Reasinger, Louis Mucci, Johnny Coles, Emmett Berry - trumpet
Frank Rehak, Jimmy Cleveland, Bill Elton, Rod Levitt - trombone
Julius Watkins, Bob Northern - french horn
Bill Barber - tuba
Danny Bank - bass clarinet
Romeo Penque Eddie Caine - woodwinds

John Coltrane Quartet - Live in Belgium (1965)

Tracks:
1 - Vigil
2 - Naima
3 - My Favorite Things

Line-up:
John Coltrane - soprano and tenor saxophone
McCoy Tyner - piano
Elvin Jones - drums
Jimmy Garrison - bass

John Coltrane - Meditations (1965)

1965 was a turning point in the life of John Coltrane. It was at this point that he crossed the line into the free jazz arena that he had been approaching since the early '60s. Besides his landmark Ascension, no better album illustrates this than the awe-inspiring Meditations. Coltrane's regular quartet with McCoy Tyner (piano), Jimmy Garrison (bass) and Elvin Jones (drums) is expanded here with second drummer Rashied Ali (who would assume Jones' spot after this album) and saxophonist Pharoah Sanders.
This conglomeration produces some dense textures, especially in the epic first track, "The Father and The Son and The Holy Ghost." This sonic hurricane is a 13-minute outpouring of spiritual emotion that is at once compelling and exhausting. Elsewhere, the group delicately follows Coltrane's lead on the passionate "Love" and swings with abandon on the raucous "Consequences" as Sanders and 'Trane battle like warriors above the churning rhythm section. Finally, the aptly titled "Serenity" is a swirling free-form improvisation gently touching back down to earth after an adventurous ride through the heavens.

Styles:
Avant-Garde
Free-Jazz
Modal

Tracks:
01 - The Father and the Son and the Holy Ghost (12:52)
02 - Compassion (06:51)
03 - Love (08:10)
04 - Consequences (09:12)
05 - Serenity (03:30)

Line-Up:
John Coltrane – tenor saxophone, band leader
Rashied Ali – drums
Jimmy Garrison – double bass
Elvin Jones – drums
Pharoah Sanders – tenor saxophone
McCoy Tyner – piano

John Coltrane - First Meditations (1965)

A studio precursor to the collective improvisations of Meditations, this suite, recorded a month before Live in Seatle, represents the final shining examples of the interplay, sensitivity and excitement of the John Coltrane Quartet. On Meditations, Trane would add drummer Rashied Ali and tenor saxophonist Pharaoh Sanders to the mix, creating a sonic vortex that represented powerful new directions. Soon after, both Tyner and Jones felt it was time to move on.

Unlike the cosmic explorations of Sun Ship, First Meditations displays the serene side of Coltrane's spiritual quest--the reflection and outreach of A Love Supreme. The sweet trills of "Love" present Trane's tenor in an angelic light, as Garrison and Jones' shifting drone leads to a chanting Tyner epic. Likewise, "Compassion" proceeds from the gentle three against four rhythm of a Jones/Garrison stroll. Trane maintains his lyric focus throughout his dense repeated figures, before the sand-blasted overtones atop the curve of his phrase finally taunt Jones into visceral retorts. On "Serenity", over Garrison's arco bass and Jones' muted thunder, Trane essays one of his most heartbreakingly beautiful melodies, as Tyner's oceanic gyrations emphasize the oriental, prayer-like nature of the mood.
Yet "Consequences" proceeds with Old Testament fury. Jones' drum overture and Garrison's folk-like strums set the stage for Trane and Tyner's rhythmic abstracts, as the band surges into an almighty torrent of sound and fury. "Joy" begins with splintered figures over the moaning rolls and groans of drummer Jones, as Garrison and Tyner hint at a groove, and Trane's short phrases glower with intensity. Tyner levitates into billowing 3/4 polyrhythms with enormous, two-handed accents and tart celestial voicings. Then Trane returns, speaking in tongues, alternating ascents into the altissimo register with descents into the growling bottom of his horn.

Styles:
Avant-Garde
Free-Jazz
Modal

Tracks:
01 - Love (08:04)
02 - Compassion (09:30)
03 - Joy (08:49)
04 - Consequences (07:21)
05 - Serenity (06:10)
06 - Joy [Alternate Version] (12:14)

Line Up:
John Coltrane - tenor saxophone, band leader
Jimmy Garrison - double bass
Elvin Jones - drums
McCoy Tyner - piano

John Coltrane - I Want to Talk about you (1962)

The Master of them all... Mr. John Coltrane!

John Coltrane - A Love Supreme (1964)

Easily one of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped into the studio and created one of the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship (not to mention his best-selling to date). From the undulatory (and classic) bassline at the intro to the last breathy notes, Trane is at the peak of his logical yet emotionally varied soloing while the rest of the group is remarkably in tune with Coltrane's spiritual vibe. Composed of four parts, each has a thematic progression leading to an understanding of spirituality through meditation. From the beginning, "Acknowledgement" is the awakening of sorts that trails off to the famous chanting of the theme at the end, which yields to the second act, "Resolution," an amazingly beautiful piece about the fury of dedication to a new path of understanding. "Persuance" is a search for that understanding, and "Psalm" is the enlightenment. Although he is at times aggressive and atonal, this isn't Trane at his most adventurous (pretty much everything recorded from here on out progressively becomes much more free, and live recordings from this period are extremely spirited), but it certainly is his best attempt at the realization of concept — as the spiritual journey is made amazingly clear. A Love Supreme clocks in at just over 30 minutes, but if it had been any longer it could have turned into a laborious listen. As it stands, just enough is conveyed. It is almost impossible to imagine a world without A Love Supreme having been made, and it is equally impossible to imagine any jazz collection without it.

by Sam Samuelson at All Music Guide

Styles:
Free Jazz
Avant-Garde
Modal
Post Bop

Tracks:
01 Acknowledgement
02 Resolution
03 Pursuance / Psalm

Line-up:
John Coltrane - tenor saxophone
Jimmy Garrison - double bass
Elvin Jones- drums
McCoy Tyner - piano

John Coltrane Quartet with Eric Dolphy (1961)

Tracks:
01 Every Time We Say Goodbye
02 Impressions (with Eric Dolphy)
03 My Favorite Things (with Eric Dolphy)

Line-up:
John Coltrane - soprano and tenor saxophone
Eric Dolphy - alto saxophone / flute
McCoy Tyner - piano
Elvin Jones - drums
Steve Davis - bass