Larry Young - Unity (1965)

On Unity, jazz organist Larry Young began to display some of the angular drive that made him a natural for the jazz-rock explosion to come barely four years later. While about as far from the groove jazz of Jimmy Smith as you could get, Young hadn't made the complete leap into freeform jazz-rock either. Here he finds himself in very distinguished company: drummer Elvin Jones, trumpeter Woody Shaw, and saxman Joe Henderson. Young was clearly taken by the explorations of saxophonists Coleman and Coltrane, as well as the tonal expressionism put in place by Sonny Rollins and the hard-edged modal music of Miles Davis and his young quintet. But the sound here is all Young: the rhythmic thrusting pulses shoved up against Henderson and Shaw as the framework for a melody that never actually emerges ("Zoltan" -- one of three Shaw tunes here), the skipping chords he uses to supplant the harmony in "Monk's Dream," and also the reiterating of front-line phrases a half step behind the beat to create an echo effect and leave a tonal trace on the soloists as they emerge into the tunes (Henderson's "If" and Shaw's "The Moontrane"). All of these are Young trademarks, displayed when he was still very young, yet enough of a wiseacre to try to drive a group of musicians as seasoned as this -- and he succeeded each and every time. As a soloist, Young is at his best on Shaw's "Beyond All Limits" and the classic nugget "Softly as in a Morning Sunrise." In his breaks, Young uses the middle register as a place of departure, staggering arpeggios against chords against harmonic inversions that swing plenty and still comes out at all angles. Unity proved that Young's debut, Into Somethin', was no fluke, and that he could play with the lions. And as an album, it holds up even better than some of the work by his sidemen here.

By Thom Jurek in All Music Guide

Styles:
Post-Bop
Fusion
Hard-Bop
Jazz Funk
Modal

Tracks:
01 - Zoltan (07:36)
02 - Monk's Dream (05:45)
03 - If (06:42)
04 - The Moontrane (07:18)
05 - Softly, As in a Morning Sunrise (06:20)
06 - Beyond All Limits (06:00)

Line-up:
Larry Young: organ
Woody Shaw: trumpet
Joe Henderson: saxophone
Elvin Jones: drums

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

Sonny Rollins - East Broadway Run Down (1966)

Around the ten-minute mark of the title track, things get very interesting indeed -- moody and spooky as Jimmy Garrison hangs on a single note, making his bass throb along while Elvin Jones widens the space and fires drum and cymbal hits in all directions. Coming off bass and drum solos that never seem to fit anywhere in the piece, it's a supreme moment of tension-building, one that gets repeated after Rollins and trumpeter Freddie Hubbard restate the theme in unison. This is the sound of Rollins' group working in unity. For much of "East Broadway Run Down," though, the rhythm section is off doing their thing, usually together, while Rollins meanders about in limbo, seemingly trying to figure out what it is that he should be doing. That Rollins was having an off day for this recording is a suspicion that's strengthened by Hubbard's part -- where Rollins is wandering, Hubbard is charging ahead, focused and tight, fitting with the rhythm section, keeping the tension up. The remainder of the album is more on the mark, with "Blessing in Disguise" being quite enjoyable -- it starts out in a cheerfully traditional vein and gradually, subtly, starts to slide off into an improvisational area only to come back again to the traditional, and so back and forth. Rollins floats his sax line around the melody with only occasional excursions toward the outer regions. "We Kiss in a Shadow," though, is charmingly straightforward, a ballad rendering supported by Jones and Garrison locking together on a nice rhythm construction that lets Rollins float around the melody.

by Steven McDonald in All Music Guide

Styles:
Post-bop
Avant-Garde
Hard-Bop

Tracks:
01 - East Broadway Run Down (20:27)
02 - Blessing in Disguise (12:27)
03 - We Kiss in a Shadow (5:40)

Line-up:
Sonny Rollins – sax (tenor)
Jimmy Garrison – bass
Freddie Hubbard – trumpet
Elvin 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

Wayne Shorter - Speak no Evil (1965)

On his third date for Blue Note within a year, Wayne Shorter changed the bands that played on both Night Dreamer and Juju and came up with not only another winner, but also managed to give critics and jazz fans a different look at him as a saxophonist. Because of his previous associations with McCoy Tyner, Elvin Jones, and Reggie Workman on those recordings, Shorter had been unfairly branded with the "just-another-Coltrane-disciple" tag, despite his highly original and unusual compositions. Here, with only Jones remaining and his bandmates from the Miles Davis Quintet, Herbie Hancock and Ron Carter on board (with Freddie Hubbard filling out the horn section), Shorter at last came into his own and caused a major reappraisal of his earlier work. The odd harmonic frameworks used to erect "Fee-Fi-Fo-Fum," with its balladic structure augmented with a bluesy regimen of hard bop and open-toned modalism, create the illusion of a much larger band managing all that timbral space. Likewise on the title track, with its post-bop-oriented melodic line strewn across a wide chromatic palette of minors and Hancock's piano pushing through a contrapuntal set of semi-quavers, the avant-garde meets the hard bop of the '50s head on and everybody wins. The loping lyric of the horns and Hancock's vamping in the middle section during Shorter's solo reveals a broad sense of humor in the saxophonist's linguistics and a deep, more regimented sense of time and thematic coloration. The set ends with the beautiful "Wild Flower," a lilting ballad with angular accents by Hancock who takes the lyric and inverts it, finding a chromatic counterpoint that segues into the front line instead of playing in opposition. The swing is gentle but pronounced and full of Shorter's singular lyricism as a saxophonist as well as a composer. [The CD reissue adds a fine alternate take of "Dance Cadaverous."]

by Thom Jurek in All Music Guide

Styles:
Hard-Bop

Tracks:
01 - Witch Hunt (8:07)
02 - Fee-Fi-Fo-Fum (5:50)
03 - Dance Cadaverous (6:45)
04 - Speak No Evil (8:23)
05 - Infant Eyes (6:51)
06 - Wild Flower (6.00)
07 - Dance Cadaverous (alternate take) (6:35)

Line-up:
Wayne Shorter — tenor saxophone
Freddie Hubbard — trumpet
Herbie Hancock — piano
Ron Carter — bass
Elvin Jones — drums

Elvin Jones-McCoy Tyner Quintet - Love & Peace (1982)

With the exception of one number ("House That Love Built") from 1978 that matches drummer Elvin Jones with the reeds of Frank Foster and Pat LaBarbera, guitarist Roland Prince and bassist Andy McCloud, this CD reissue focuses on an unusual and generally successful reunion session. Drummer Jones and pianist McCoy Tyner have not recorded together that often since leaving John Coltrane's Quartet in late 1965. With Pharoah Sanders (who was part of the reason they departed) on tenor, bassist Richard Davis in the late Jimmy Garrison's spot, and guitarist Jean-Paul Bourelly an added wild card, the musicians avoid Coltrane tunes in favor of newer originals and the standard "Sweet and Lovely." Sanders sounds very much like late-1950s Coltrane; Bourelly is a bit out of place, and Tyner easily takes solo honors. An interesting but not overly memorable outing that was originally cut for the Japanese Trio label and made available in the U.S. by the now-defunct Black-Hawk company.

by Scott Yanow in All Music Guide

Styles:
Post-Bop

Tracks:
01 - Little Rock's Blues (4:35)
02 - Hip Jones (7:27)
03 - Korina (5:35)
04 - For Tomorrow (7:08)
05 - Sweet and Lovely (6:52)
06 - Origin (5:05)

Line-up:
McCoy Tyner: piano
Elvin Jones: drums
Pharoah Sanders: tenor saxophone
Jean-Paul Bourelly: guitar
Richard Davis: bass

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 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

McCoy Tyner - The Real McCoy (1967)

Two and a half years after his last recording as a leader for Impulse, pianist McCoy Tyner emerged to start a period on Blue Note that would result in seven albums. Having left John Coltrane's Quartet in late 1965, Tyner was entering a period of struggle, although artistically his playing grew quite a bit in the late '60s. For this release, the pianist is teamed with tenor saxophonist Joe Henderson, bassist Ron Carter, and drummer Elvin Jones for five of his originals. Highlights of the easily recommended album include "Passion Dance," "Four by Five," and "Blues on the Corner."
by Scott Yanow in All Music Guide

Styles:
Post-Bop

Tracks:
01 - Passion Dance (8:44)
02 - Contemplation (9:10)
03 - Four by Five (6:33)
04 - Search for Peace (6:27)
05 - Blues on the Corner (5:58)

Line-up:

McCoy Tyner: piano
Joe Henderson: tenor saxophone
Ron Carter: bass
Elvin Jones: drums

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

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

Freddie Hubbard - Ready for Freddie (1961)

Trumpeter Freddie Hubbard really came into his own during this Blue Note session. He is matched with quite an all-star group (tenor saxophonist Wayne Shorter, pianist McCoy Tyner, bassist Art Davis, and drummer Elvin Jones in addition to Bernard McKinney on euphonium), introduces two of his finest compositions ("Birdlike" and "Crisis"), and is quite lyrical on his ballad feature, "Weaver of Dreams." Hubbard's sidemen all play up to par and this memorable session is highly recommended; it's one of the trumpeter's most rewarding Blue Note albums.

by Scott Yanow at All Music Guide

Style:
Hard Bop

Tracks:
01 Arietis
02 A Weaver of Dreams
03 Marie Antoinette
04 Birdlike
05 Crisis

Line-up:
Freddie Hubbard - trumpet / horn
McCoy Tyner - piano
Art Davis - bass
Elvin Jones - drums
Bernard McKinney - Euphonium / horn
Wayne Shorter - tenor saxophone

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

Joe Farrell - Outback (1971)

Outback is the second of his dates for the CTI label, all of which are compelling, and some, like this one, are brilliant. Recording in a quartet setting with Elvin Jones, Chick Corea, and Brazilian percussionist Airto Moreira, Farrell, with his reeds and woodwinds, pushes the envelope not only of his own previous conceptualism in jazz, but the CTI label's envelope as well. For starters, this is not a funk, soul, or fusion date, but an adventurous, spacy tightrope-walking exercise between open-ended composition and improvisation. That said, there is plenty of soul in the playing, not only by Farrell, but by all the players -- and Corea never sounded less academic or pointillistic than he does here. There are four compositions on Outback, all of which were arranged by Farrell. The opener is the humid and mysterious title track by John Scott. Staged in a series of minor-key signatures, Farrell primarily uses his winds here, flutes and piccolos, to weave a spellbinding series of ascending melodies over the extended voicings provided by Corea -- not exactly in counterpoint, but in spacious contrast. Jones is his typically uncanny self, skipping over cymbals and using a set of sticks more softly than any man can and still drive a band. Airto is positively hypnotic with his hand-drum fills, rubs and shimmers, going through the beat, climbing on top of it, and playing accents in tandem with Farrell in the solo sections. "Sound Down" is a bit more up-tempo and features Farrell fully engaged on the soprano. Buster Williams lays down a short staccato bassline that keeps Jones' bass drum pumping. As Farrell moves from theme/variation/melody to improvisation, he brings Corea, who, uncharacteristically, vamps off the melody before offering a series of ostinato replies before Farrell clearly surprises everybody with the knottiness of his legato phrasing. Corea's "Bleeding Orchid" is a ballad played with augmented modes and continually shifting intervals that can be heard and mapped best by Williams' adherence to the changes, though his pizzicato fills provide a sharp contrast to Farrell's trills and columnar arpeggiattic meditations that come off as a cross between pastoral jazz classicism and Middle Eastern folk music. Finally, on the leader's own "November 6th," the stops are pulled out in a Latin jazz workout that invokes Coltrane's version of "My Favorite Things," and Farrell digs deep into the tenor's middle register for a singing sound that brings to bear the Latin jazz howling of Gato Barbieri and the deep fire music of 'Trane, while being played through a gorgeously bluesy sophistication as the other players rally around and push through the tenor player's flights of near manic intensity. This is a stunner, an album that is at least as inspired as anything Farrell ever recorded, and perhaps more so.

by Thom Jurek at All Music Guide.

Styles:
Hard Bop
Crossover Jazz

Tracks:
01 Outback
02 Sound Down
03 bleeding Orchid
04 November 68th

Line-up:
Chick Corea - electric piano
Joe Farrell - flute / alto flute / piccolo / soprano and tenor saxophone
Elvin Jones - drums
Airto Moreira - percussion
Buster Williams - bass