Soultrane is one of the essential albums in John Coltrane’s career. Recorded during the first year of his Prestige contract, between his critical service in Thelonious Monk’s quartet and his return to the band of Miles Davis, it finds the tenor saxophonist displaying a new level of both technical and conceptual refinement, dispensing torrents of notes that annotator Ira Gitler famously dubbed “sheets of sound.”
Guitarist Ivan "Boogaloo Joe" Jones two albums were made in the same period (1972-73) as the Funk Inc sides and use the same production /engineering team of Ozzie Cadena and Rudy Van Gelder. Snake Rhythm Rock and Black Whip were originally released as Prestige LPs 10056 and 10072, respectively, and the band expands in size from a quintet on the first album to a septet by the second.
In addition to their positions of importance in the Miles Davis quintet of the mid-fifties, John Coltrane and Red Garland a series of studio dates for Prestige in 1957 and '58. Here, as in several of the others, Paul Chambers is the bassist and Arthur Taylor is the drummer, with Donald Byrd on trumpet making it a quintet. There are only three numbers, the title song "Black Pearls", an extremely swift version of "Lover Come Back To Me", and the fast "Sweet Sapphire Blues" which begins with Garland soloing from the gitgo in a long, upbeat exploration before Trane unfurls his "sheets of sound". Byrd gets into that rapid fire mode, in and among his evenly-cadenced lines and Chambers (plucked) and Taylor (brushes into sticks)…
The two and a half years represented in this mammoth collection made up a period of great activity and development for young John Coltrane. It was a time in which he worked in the Miles Davis Quintet, then joined Thelonious Monk for his historic Five Spot engagement, and then took his place in the legendary 1958 Miles Davis Sextet. It was a time in which he grew from a somewhat promising tenor player to a supernova about to burst upon the jazz world. It was also a span during which Trane traveled with great regularity to the original New Jersey location of the Rudy Van Gelder Studio, taking part in no less than 25 lengthy Prestige recording sessions.
Interplay, Prestige Records' new 5-CD set, containing early collaborative recordings of the peerless tenor saxophonist and visionary John Coltrane, serves two distinct purposes. The first is to offer an extraordinary collection of music that provides an excellent overview of the modern jazz scene during the fertile 1956-1958 period. The other - and arguably more important purpose to the legions of Coltrane faithful - is its rich delineation of the evolutionary process behind one of the most profoundly important and emotionally compelling artists this planet has ever seen.
Coltrane’s breakout year, when his mature sound first grabbed ears and his own recordings began to sell consistently, was 1958. This release chronicles the exciting story session by session, featuring all 37 tracks Coltrane recorded as a leader or co-leader for the independent Prestige Records label in those twelve months. This collection captures him in creative high gear—developing the signature improvisational style that journalist Ira Gitler famously dubbed “sheets of sound.” The timely release marks the 70th year since the founding of Prestige and comes just after the 60th anniversary of these recordings.
Bill Jennings was a very short man, but a giant on guitar—entirely self-taught, his attack and phrasing were astoundingly sax-like. As a jazz musician, he always insisted on soul as well as sound. That is not to say that he was not a perfectionist and a precisionist, for indeed he was. Although an ardent admirer of the great guitars in jazz, Jennings was always biased towards reeds and (admittedly a frustrated saxophonist) claimed that his style had been heavily influenced by Charlie Parker and Herschel Evans.