You Can Never Get Enough Sax….
- September 2nd, 2010
- Write comment
Thanks to Eric Luecking from Record-Racks.com for this great review.
DEFINITIVE JAZZ FROM COLTRANE AND ROLLINS
The Definitive John Coltrane On Prestige And Riverside (Concord Music Group, 2010)
Not that this statement is backed by scientific studies, but my guess is that if you were to poll people to name two jazz musicians, you would most likely get the names Miles Davis and John Coltrane as the most common responses. Miles Davis, of course, would record for many decades. Coltrane, however, would only record music, at least as a prominent figure, in two. In 1955, he started to become very well known. Concord Music Group has issued a 2-CD collection of his work from the four year period between ’55 and ’58.
By no stretch is it a complete cataloging of his work with Prestige (there’s a 16-disc collection released in the early ’90s for that), but it’s a nice introductory collection. Reading through the liner notes, it’s jawdropping to read the names who played on these pieces: Miles Davis, Thelonious Monk, Donald Byrd, Red Garland, Kenny Burrell, Arthur Taylor, and the list goes on.
Listening to “Come Rain Or Come Shine” gives you a glimpse into what was so amazing about Coltrane. His way of working melody into the swinging rhythm and improvisation are dumbfounding. He starts with simple, yet beautiful, straightforward playing before lifting into orbit with running the scale.
Nine-and-a-half years after that session, Coltrane would be dead. In 1958, his star was on the rise with boundless limits. Even death couldn’t contain the influence his playing would have on future generations.
The Definitive Sonny Rollins On Prestige, Riverside, and Contemporary (Concord Music Group, 2010)
Sonny Rollins, although lesser known than Coltrane, also was highly influential. From a number like the opening track, “Mambo Bounce,” from his definitive collection you can hear his jaunty side. It’s his rendition of the standard “In A Sentimental Mood,” however, that really tugs your heartstrings. Even sitting alone, you feel as if you’re dancing with a loved one. When Milt Jackson’s vibes come in, you almost feel as if you’re being cut in on. Rollins returns shortly after, though, to finish the dance.
“Sonny Boy” is a return to a more hard bop. Up and down with the arrangement his notes go. Understated goes out the window as notes creep in all over the place. “The Freedom Suite” finds a way to bridge the two, being both fast and slow depending upon which section of the suite you’re in. The abundant swing in “The Way You Look Tonight” is aided by Thelonious Monk’s work on the 88s, but Rollins’ sax is front and center as a leading figure amongst other significant figures from jazz history including Tommy Potter and Arthur Taylor.
For a review of
The Definitive Thelonious Monk, check out Record Racks. All three of these sets are available for purchase now from your favorite local or online music shop.
