John Coltrane Quartet Coltrane (1962) [2016_acousticsounds 24 192]

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. All Music

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's Crescent from the spring of 1964 is an epic album, showing his meditative side that would serve as a perfect prelude to his immortal work; A Love Supreme.

John Coltrane's "Live At The Half Note" on the Laserlight label is an excellent look at what is arguably jazz's greatest quartet - the "Classic Quartet" of Trane, McCoy Tyner, Jimmy Garrison and Elvin Jones - in an intimate club setting. It is during performances like these, where Coltrane had the ability to stretch out and play at length, improvising and creating on the spur of the moment, that he further developed his signature, searching style.