Both John Coltrane

With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane and Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He's not aggressive, and he's not outwardly. Instead he's introspective and at times even predictable, but that is precisely Ballads' draw.

John Coltrane - Complete Live In Stuttgart 1963 {2010 Domino}
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© 2010 Domino | 891205
Jazz / Modal Music / Saxophone

The classic John Coltrane Quartet’s complete long unavailable concert in Stuttgart on November 3, 1963, for the first time ever on a single set. Two of the songs, “Impressions” and “Mr. P.C.”, totaling more than an hour of music, have never previously appeared in any format. We have completed this set with the only known track (also previously unissued) from the concert given by the same formation at Salle Pleyel, in Paris, two days before the Stuttgart performance.

Kenny Burrell & John Coltrane - Kenny Burrell & John Coltrane (1958) {Prestige Japan, VDJ-1533, Mono, Early Press rel 1986}
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© 1958, 1986 Prestige / Victor Japan | VDJ-1533 | Mono | direct from a master recording
Jazz / Bop / Hard Bop / Guitar / Saxophone

One of our favorite Kenny Burrell albums – and a record with a much deeper feel than lots of his other work! Kenny cut this album with John Coltrane in 1958 – and the session's a real standout in both of their careers at the time – Kenny's, for being a well-crafted, highly-focused effort – and Coltrane's, for being a unique outing with a guitar, but one that's done with the same deep-spirited sound of his best work for Prestige. The group's a quintet, with Tommy Flanagan, Paul Chambers and Jimmy Cobb in the rhythm section.

This mid-'90s DCC Jazz edition of the John Coltrane (tenor sax)/Paul Quinichette (tenor sax) title Cattin' with Coltrane and Quinichette (1959) contains the same excellent remastering and bonus tracks as its standard silver pressing - without the superfluous expense of a 24-karat gold disc. Audiophile pressing or naught, what remains as the centerpiece are the selections that the co-leads cut during a mid-May 1957 session with Mal Waldron (piano), plus a rhythm section consisting of Julian Euell (bass) and Ed Thigpen (drums). Waldron - who penned all the album's originals - proves why he is one of the best composer/arrangers for Coltrane…

John Coltrane - Meditations (1965) {Impulse!-Verve Originals 0602517920378 rel 2009}
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© 1965, 2009 Impulse! / Verve / UMG | Verve Originals Series | 0602517920378 | LP A-9110
Jazz / Avant-Garde Jazz / Modal Music / Free Jazz / Saxophone

This CD reissues what was arguably the finest of the John Coltrane-Pharoah Sanders collaborations. On five diverse but almost consistently intense movements ("The Father and the Son and the Holy Ghost," "Compassion," "Love," "Consequences," and "Serenity"), the two tenor saxophonists, pianist McCoy Tyner, bassist Jimmy Garrison, and both Elvin Jones and Rashied Ali on drums create some powerful, dense, and emotional music. Unlike some of the live jams of 1966, the passionate performances never ramble on too long and the screams and screeches fit logically into the spiritual themes. This would be the last recording of Coltrane with Tyner and Jones.

Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did - exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment…

John Coltrane - Ballads (1962) [2CD] (2002 Deluxe Edition)
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© 2002 Verve / Impulse! | 314 589 548-2
Jazz / Post Bop / Modal Music

Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make.

John Coltrane Quartet - Ballads (1962) {2007 Japan MiniLP Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 193 Mb | MP3 @320 -> 76 Mb
Full Artwork @ 600 dpi (jpg) -> 104 Mb | 5% repair rar
© 2007 Impulse! / Victor Japan | ICCI-9001
Jazz / Post Bop / Saxophone

Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make.