My Time Will Come

After both John Coltrane and Cannonball Adderley left Miles Davis' quintet, he was caught in the web of seeking suitable replacements. It was a period of trial and error for him that nonetheless yielded some legendary recordings (Sketches of Spain, for one). One of those is Someday My Prince Will Come. The lineup is Davis, pianist Wynton Kelly, bassist Paul Chambers, and alternating drummers Jimmy Cobb and Philly Jo Jones. The saxophonist was Hank Mobley on all but two tracks. John Coltrane returns for the title track and "Teo." The set opens with the title, a lilting waltz that nonetheless gets an original treatment here, despite having been recorded by Dave Brubeck. Kelly is in keen form, playing a bit sprightlier than the tempo would allow, and slips flourishes in the high register inside the melody for an "elfin" feel. Davis waxes light and lyrical with his Harmon mute, playing glissando throughout. Mobley plays a strictly journeyman solo, and then Coltrane blows the pack away with a solo so deep inside the harmony it sounds like it's coming from somewhere else.

This live compilation contains tracks from at least three separate concerts, all taped without authorization as Brubeck was exclusively a Columbia artist during this time frame. "Some Day My Prince Will Come," a Disney-associated tune that Brubeck introduced to the jazz world, fares well here, with the pianist only lightly comping behind Paul Desmond's alto sax solo; while Brubeck's dramatic "Forty Days" is as formidable as any of its commercial recordings. "Summer Song" is actually the beautiful Brubeck ballad "Softly, William, Softly." Several tracks from the Take Five Live CD are repeated here, complete with their incorrect titles and poor sound. The one track featuring Gerry Mulligan likely comes from a 1968 appearance at the New Orleans Jazz & Heritage Festival; though it is marred by feedback from the on-stage monitors, it is worth hearing…

The series was revived as "AM Gold" in 1995, with a different cover design (early volumes had an artist's drawing of a pocket transistor radio, with later volumes bearing a "gold record" with the year or era spotlighted emblazoned over the top). The first 20 volumes were re-titled issues of volumes from the former "Super Hits" series with identical track lineups, while new volumes covering the mid- and late-1970s (including individual volumes for each of the years 1974-1979) were included.

The series was revived as "AM Gold" in 1995, with a different cover design (early volumes had an artist's drawing of a pocket transistor radio, with later volumes bearing a "gold record" with the year or era spotlighted emblazoned over the top). The first 20 volumes were re-titled issues of volumes from the former "Super Hits" series with identical track lineups, while new volumes covering the mid- and late-1970s (including individual volumes for each of the years 1974-1979) were included.

Willie Nelson - It Will Come To Pass: The Metaphysical Worlds And Poetic Introspections Of… (2014) {OMNI-179 rec 1965-1971}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 428 Mb | MP3 @320 -> 179 Mb
Full Artwork @ 300 dpi (png) -> 55 Mb | 5% repair rar
© 1965-71, 2014 RCA / Omni Recording Corporation | OMNI - 179
Country / Country-Pop / Outlaw Country / Progressive Country / Traditional Country

Every word of the winding title It Will Come to Pass: The Metaphysical Worlds and Poetic Introspections of Willie Nelson indicates that this 2014 Omni compilation is no standard Willie Nelson collection. As is its wont, Omni specializes in the Nashville netherworld that exists somewhere between Tennessee and Hollywood, a place Willie explored quite often in the '60s. Often when his story is told, it's implied there was no room for Nelson in Nashville during the '60s because he was too much of a rough outlaw, but this collection, drawn entirely from records he cut for RCA during that decade, plus a cut or two from the early '70s, illustrates how Willie didn't fit in because he'd descend into spooky, jazzy grooves or strum a 12-string just as often as he'd haul out the western swing.